A lively baroque-influenced duet for two pianos. It is in binary form and modulates from E minor to Bb Major to A minor before returning to E Minor. The time signature is 14/16, subdivided into 6 and 8 beats.

Canon For Two Pianos

"Sometimes a thousand twangling instruments will hum about mine ears..."

Caliban Dreams Of Parnassus

This is a short piece for flute and clarinet. It's cast in a binary form and utilizes compositional devices such as inversion, retrograde inversion, retrograde, augmentation, diminution, double augmentation and double diminution.

Duet For Flute And Clarinet

A short through-composed piece in 5/4. It is rather dissonant and eschews traditional harmonies and concepts of tonality. Its theme can be heard in inversion, retrograde and retrograde inversion, as well as in augmentation and diminution.

Adagio

This is a short Allegro for a woodwind sextet. The musical style is both non-tonal and dissonant. The form is a standard binary AB with each section repeated. I've used my favorite devices of canon, inversion, retrograde, and retrograde inversion.

Sextet for Winds

This is a three-voice canon for solo piano. It is both non-tonal and unabashedly dissonant. Its binary form features the theme heard against itself in retrograde motion in the A section and then inverted and against itself in retrograde inversion in the B section.


Canon for Solo Piano

A  canonic piece for an ensemble including strings, winds, and brass. I used an A A' B A" form.  Both dissonant and non-tonal, each member of the ensemble gets a turn with the theme,  sometimes in its inversion, retrograde, or retrograde inversion.

Octet

A duet for flute and clarinet with piano accompaniment. It is non-tonal and dissonant. The 5/8 meter lends to a feeling of rhythmic unpredictability.

Incantation  (Andante con malintenzione)

A very rhythmic and dissonant piece for a small ensemble. It avoids traditional tonal practices and is built around a three voice canon and its inversion. The form is ABBA.

Allegro Sardonico

A humorous and rhythmic piece for trombone, bassoon, and contrabassoon. It is non-tonal and dissonant, cast in an AABB form. The top two voices are in canon.

Dance, Ye Dreary Trolls!

This is a duet between a flute and an alto flute with guitar accompaniment. It employs an AABCC form and the flutes are in canonic imitation. The music is non-tonal and  the harmonies are rather dissonant.

Pastorale

A piece for woodwind quartet and piano. It is both non-tonal and dissonant, making use of canonic imitation of first the theme and then its inversion.

Allegretto for Winds and Piano

This is a piece for eight string players - 2 each of violins, violas, cellos, and contrabasses. It is dissonant and eschews traditional harmony and tonality. The main theme, doubled at the octave, may be heard throughout in canon with itself and in retrograde or in inversion with itself  and in retrograde inversion.

Octet for Strings (Un Paese Maledetto)

This is a piece for violin, vibraphone, organ, and contrabass cast in the scherzo and trio form. It is in 7/8 meter and is quite dissonant and non-tonal.

Allegro Scherzoso

This is a lively and brash piece written for trumpet, horn, and piano. It is dissonant and non-tonal, binary in form, relying on canonic imitation to pull it together.

Accompanied Duet for Trumpet and Horn

A canonic duet for soprano and tenor sax, accompanied by a bass and a battery of percussion instruments. The piece is in ABA form and avoids traditional harmony and tonality.

Battle of the Saxes

A rather cheerful little piece for oboe, clarinet, and cello. It is somewhat  dissonant and avoids traditional concepts of harmony and tonality. It's form is binary (AABB).

Allegretto for Oboe, Clarinet and Cello

This is an lively duet for two harpsichords. It is cast in the typical baroque binary form but is quite dissonant, non-tonal, and avoids any pretense of conventional harmony. It employs canonic writing.

Frolic for Two Harpsichords

A four-part canon for chorus  accompanied by a bassoon and a battery of percussion instruments.  Quite dissonant and doesn't employ traditional usage of harmony and tonality.

Vocalise for Chorus, Bassoon and Percussion

A chaconne is usually a series of variations over a fixed progression of chords. This piece utilizes thirteenth chords and frequently changes meter.

Chaconne For Piano

A waltz for a small orchestra in a modified (ABACDA) rondo form.

Alfred Caprio

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