Southwest Suite

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

Microtonal Scaler - Microtonal 2

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)

Integrated Frequency - Chromatic, Serial

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)

IF2 Chord Modulation, with Serial (P,R,I,RI)

This is an experiment in modulation between the three overtone series ‘keys’ of R30 (B), R20 (E), and R22.5 (F#). There are chord progression sequences that can be made within a single overtone scale, as shown by previous experiments. In this experiment, however, I seek to expand the harmonic possibilities by essentially creating a tonic, dominant, and subdominant framework.

In addition to the above concept, I added a 12-note chromatic line, developed with the common serialism components of Prime, Retrograde, Inversion, and Retrograde/Inversion.

As the keys shift, the tempi and 12-tone lines also shift. Since the 12-tone line is derived directly from the same overtone series of its underlying harmonies, we see that serialism and harmony can co-exist.

In this work, tempo, harmony, and chromatic serialism are compatible and congruent.

Impressions (for Soprano Sax, Violin, and Piano)

This piece was premiered by some wonderful musicians at a West Texas A&M music faculty recital. 

(Click here to purchase score and parts.)

Antiphony (for Cello and Piano)

I recently had the privilege of having this piece premiered at Texas Tech by cellist Jeffrey Lastrapes.  I began writing the work back in 2001, as Lastrapes, a member of the Lindsayan String Quartet, had recently performed my "Vignettes for String Quartet", and suggested the possibility of my writing a recital piece around 7-10 minutes in length.  

I immediately began working on it, but after a computer glitch in the Finale file rendered a portion of the work inaccessible, together with Jeffrey moving to NYC and my usual busy schedule, I shelved the project. 

Several years later, when I heard that Jeffrey had moved back to Lubbock, I thought I would try one more time to open the file, now with a later version of Finale, and to my amazement, the file was retrievable, so I finished the work within a few weeks in 2005. 

After 10 years from its origin the work was premiered.  Not only was I elated to hear it played, but also was glad to put a 'check-mark' next to a completed project.

I love Jeffrey's playing, which I endeavored to highlight in the compositional process. He's a great musician and a great friend.  

To purchase sheet-music for Antiphony, click here