Excellence in Music and Worship
Original Musical Compositions and Thoughts on Worship
This is a piece I wrote for my father’s Memorial Concert, using the text from his aunt’s book of poetry, “A Garden of Memories.” “I Want My Flowers Now” was a particularly meaningful poem to my father, as it contained an admonition to give thanks to those we love while they live, not waiting till it’s no longer possible to share our feelings of love and gratitude.
This is a piece I wrote for a friend for his wedding, performed by his brother, Nathaniel Carter and the Lone Star Brass Quintet. It combines the simple melody of a contemporary pop song with a Renaissance-like accompaniment of the brass, with linear diatonicism.
This was one of my first acapella choir carol arrangements, written for my church’s annual Christmas service.
String Quartet #4 is written in four movements. Throughout the work, I utilize the octatonic scale, highlighting its features in a pseudo-jazz framework. The first and fourth movements are thematically related. The second movement is lyrical, and the third movement was written to be a sort of scherzo.
The third movement was premiered at the Seal Bay Music Festival in Maine
Débandade, for string quartet, was written to commemorate the transfer of the Tom Lea painting, ‘Stampede’ to the Ellen Noel Art Museum in Odessa, Texas.
This work extends the story of a cowboy’s journey to rustle his cattle in the midst of a West Texas thunderstorm.
The original work, Débandade, for string quartet, was written to commemorate the transfer of the Tom Lea painting, ‘Stampede’ to the Ellen Noel Art Museum in Odessa, Texas.
The piece was extended to include two more movements, written for triple string quartet and string orchestra, depicting the cowboy’s long walk home and fiddle dance as he shares his story with his friends and family that evening around the campfire.
I. Débandade
II. Périple
III. Danse
This is an arrangement, or, as I like to call an essay, using the theme of this famous hymn.
(Click here to purchase the string quartet score, the string orchestra score, or the MP3.)
This is an arrangement, or, as I like to call it, an essay, using the theme of the famous hymn to create this short composition.
(Click here to purchase the string quartet score, string orchestra score, or MP3.)
Blessed is the person whose strength is in You,
In whose heart are the roads to Zion!
Passing through the Valley of Baca they make it a spring;
The early rain also covers it with blessings.
They go from strength to strength,
Every one of them appears before God in Zion. (Ps. 84:6)
The valley of Baca is translated '“valley of weeping.”
When we trust in the Lord with our whole heart, even in the tough times, He brings us through to the other side, not only to experience life as usual. But, just like God can, He brings us to a place of joy.
This song merges Psalm 84 with passages from Psalm 91. The Lord is our refuge, our protector. Even when we go through trials and fiery circumstances, He is there surrounding us with His Presence.
We are truly blessed, no matter the situation!
Through-composed
Now that I have conducted several looping experiments with the Integrated Frequency system, this is a short through-composed (non-looping) composition.
The first section is in R20 (essentially the key of E), using the full spectrum of the 30-note scale. The middle section is in R30 (the key of B), again using the full scale-range. The final section returns to R20, however, the ending chord cadences on B Major, while the ending low note is E.
The first and last sections are in 75BPM, congruent with the R20 scale, while the middle section is in 56.25BPM, congruent with the R30 scale.
I endeavored to use interesting aspects of the overtone scale, such as melodic microtonal gestures, contrapuntal chromaticism and harmonic motion.
(For more information, please see my article Integrated Frequency)
Fullrange
This is an experiment using the various parts of the overtone scale in combination in the single R20 scale. Using rhythm, a bass-line, a harmonic ‘comping’ pattern, harmonic counterpoint, chromatic and microtonal patterns, along with a diatonic melody, all ‘sections’ of the overtone scale are utilized.
(For more information, please see my article Integrated Frequency)
Using loop-based composition, an extended form emerges from layering of the various elements.
Microtonal 2
In this experiment I used the same ascending and descending scaler pattern in multiple related overtone scales. In each 30-node scale, I used the upper partials to create the microtonality.
In the R5 family, I used R5, R10, R20, R40, R80, and R120 in 75BPM and 150BPM, from their respective tempo family. The root tempo of this family is whole-note = 18.75 (.3125Hz).
In a related branch from that group, I used R30 in 112.5BPM and 225BPM, its respective tempo family. This family is derived by multiplying the above 18.75 x 3.
I also used R35 and R70, another branch from the R5 family in 131.25BPM, its tempo family. This family is derived by multiplying the above 18.75 x 7.
I hoped to create a ‘whirring’ of scales against each other, all related, yet in their own distinct families, like branches off the trunk of a tree.
Polyrhythms and polytonalities are created by the scaler interactions.
(For more information, please see my article Integrated Frequency)
Chromatic Serial
This experiment plays with the possibility of serialism in the context of the chromatic scale which resides inside of the overtone series, nodes 13-24. I used a 10-note pattern, providing Prime, Retrograde, Inversion, and Retrograde/Inversion of the theme in the overtone scales of R20, R40, and R60.
(For more information, please see my article Integrated Frequency)
Melody
This is a single melodic line, stretching over the span of a several-octave overtone scale. Using the melody canonically in R40, R60, R120, R160, and R200, the lines create counterpoint against each other.
R60 and R40 are related. R40, in this instance represents tonic and R60 represents Dominant.
(For more information, please see my article, Integrated Frequency)
Rhythm/Bass
This was an experiment in two different overtone scale/rhythms: R5/R10 against R30/R60. The familiar rock style is challenged by the convergence of the two tempos and scales, creating polytonal and polytempo moments.
Only two compositional components were used to create this piece: a bass pattern and a rhythm pattern.
(For more information, please see my article, Integrated Frequency)
Rhythm
Beginning with the lowest fundamentals, here is an experiment in polyrhythms. Using the root frequencies of R5, R10, R20, R40, R80, and R120 at 75BPM as one rhythmic block, R30 at 112.5BPM and 225BPM as another rhythmic block, and R35 and R70 at 131.25BPM and 525BPM as the last rhythmic block, many polyrhythms are created. At one point there is a ratio of 12:28:11.
The pitches were created by making a short note on each fundamental using the additive Max synth that I made, so the tempos and pitches of each rhythmic block are in the same family. There are three main rhythmic families against each other in polyrhythms. All of these families are related to each other, as branches of the same tree, the foundation being 18.75BPM (or .3125Hz).
(For more information, please see my article: Integrated Frequency)
This is a contemporary classical composition inspired by Ysaye's works for unaccompanied violin. Each section is based upon a verse from the Biblical chapter Psalm 67. The work has been premiered and performed by the composer in New York City, Czechoslovakia and Vienna.
Of the work, Hans Neidhardt, music director of the Volksbildungskreis in Vienna, Austria wrote:
“…his encore (Psalm 67), a composition of his own earned much applause by the audience.”
A Bit ‘O Jazz (for Chamber Ensemble)
This was my first attempt at ‘serious’ composition. I wrote it when I was around 13 years old for my Junior High School Orchestra. I wasn’t asked to write it, I just thought that if I had enough initiative to write for the group, the director would elect to perform it, or at least read it.
My naivete brought me some initial disappointment from the director of the ensemble. He had other plans for how he wanted to budget the rehearsal time for the group.
However, since I played in the Midland-Odessa Symphony at the time, the resident String Quartet and a couple other musicians told me they would be glad to read it for me after one of our rehearsals, which is the recording posted here.
This was my first journey into the world of composing and the rewarding feeling that comes from getting a group to play one’s work, along with the thrill of capturing the recording.
Hope you enjoy it!
“But God gives a greater grace.” (James 4:6) More and more grace has been poured out on us, through the sacrifice and resurrection of Jesus Christ. Here’s a Gospel song I wrote about it. Hope you enjoy!
This is an original song I wrote, using text from the well-known Christmas carol. The recording was from a live performance on Christmas Eve at Odessa Christian Faith Center, 2023. Hope you enjoy!