Instrumentation: Eb Clarinet, Bb Clarinet 1-4, Bass Clarinet 1-2, Contrabass Clarinet, Narration in Finnish (recording provided)

Duration: ca. 11:00

Difficulty: Advanced

From the program notes:

"Isa Asp (1853-1872) is recognized as Finland's first female poet. Though her life and career were cut tragically short at only nineteen years of age due to illness, through her writings her legacy lives on. Asp's works often reflect her profound love for her country and its people, admiration for life and its joys from a religious perspective, and her internal struggles with identity, morality, and the restrictions imposed by society...

As I worked on this project, I found myself deeply empathizing with Isa’s struggles, especially in her desire to be freely expressive in a world that can, at times, be limiting.

This piece was commissioned by Dr. Nicholas Councilor and the University of Texas at San Antonio Clarinet Choir for their performance at the International Clarinet Association's ClarinetFest in 2025. ICA's mission statement for this event surrounds 'Transcending traditions,' reflecting a wider view of the clarinet’s journey within our connected world and allowing our community to discover new avenues of expression. It's my hope to also foster connections with audiences through this story, and of course, celebrate the diversity of the clarinet ensemble as a unique and compelling medium along the way."

Expanded program notes with text translations included in the full score.

Grade: Advanced, Collegiate+

Instrumentation: Bass or Bb Clarinet, Electronic Accompaniment

Duration: ca. 9:45

Program Notes:

Three recurring motives tell a story of tragedy and hope while journeying through the seven stages of grief:

The first, a gentle four note figure; representing nostalgia and innocence

The second, and aggressive rhythm in 7/4; representing tragedy and conflict

The third, a descending and alternating scalar pattern; representing transformation

The first two motives struggle for dominance throughout the work until the third offers respite and change, and the ending is hopeful. The musical progression throughout the piece paints a picture of ongoing conflict and grief, wherein a shift in perspective paves the way toward acceptance and growth. In essence, this story isn't so much about conquering one's demons, but learning to live with them. The name "Impressions" is meant to reflect the way that some events can leave a permanent impact.

The motives are primarily only present in the accompaniment, with the soloist having unique material throughout. This is meant to personify subconscious processes in the back of the mind, permeating everyday thoughts and actions. The first exception to this is the introduction of the third motive, in a highly virtuosic section in measure 130 that sparks the paradigm shift in the narrative. This is to say that opening oneself to healing is sometimes a conscious choice.

Inspiration for the piece came from my love of progressive rock and metal music, particularly in the ways that these genres play with storytelling elements and long-form structures. The clarinet lines resemble electric guitar solos soaring over aggressive rhythmic sections, with frequent changes in meter typical of the genre. The musical stylings of Dream Theater's "Octavarium" and "A Change of Seasons," as well as Haken's "Crystallized," were particular inspirations. I am always moved by themes of personal growth and wanted to convey my own journey in this way. It's my hope that others may find connections to their own stories within this piece.

This version, with electronic accompaniment, is an adaptation of the original piece for bass clarinet, drum set, and two pianos. Despite coming after the fact, I feel that this version is more closely aligned with my original vision for the soundscape I wanted to paint with this story.

Grade: Advanced, Collegiate+

Instrumentation: Amplified Bass or Bb Clarinet, Drum Set, Piano 1-2

Duration: ca. 9:30

Program Notes:

Three recurring motives tell a story of tragedy and hope while journeying through the seven stages of grief:

The first, a gentle four note figure; representing nostalgia and innocence

The second, and aggressive rhythm in 7/4; representing tragedy and conflict

The third, a descending and alternating scalar pattern; representing transformation

The first two motives struggle for dominance throughout the work until the third offers respite and change, and the ending is hopeful. The musical progression throughout the piece paints a picture of ongoing conflict and grief, wherein a shift in perspective paves the way toward acceptance and growth. In essence, this story isn't so much about conquering one's demons, but learning to live with them. The name "Impressions" is meant to reflect the way that some events can leave a permanent impact.

The motives are primarily only present in the accompaniment, with the soloist having unique material throughout. This is meant to personify subconscious processes in the back of the mind, permeating everyday thoughts and actions. The first exception to this is the introduction of the third motive, in a highly virtuosic section in measure 130 that sparks the paradigm shift in the narrative. This is to say that opening oneself to healing is sometimes a conscious choice.

Inspiration for the piece came from my love of progressive rock and metal music, particularly in the ways that these genres play with storytelling elements and long-form structures. The clarinet lines resemble electric guitar solos soaring over aggressive rhythmic sections, with frequent changes in meter typical of the genre. The musical stylings of Dream Theater's "Octavarium" and "A Change of Seasons," as well as Haken's "Crystallized," were particular inspirations. I am always moved by themes of personal growth and wanted to convey my own journey in this way. It's my hope that others may find connections to their own stories within this piece.

Grade: High Intermediate, High School+

Instrumentation: Eb Clarinet, Bb Clarinet 1-3, Bass Clarinet 1-2, Contrabass Clarinet

Duration: ca. 5:00

Program Notes:

“In Song and Spirit” is a musical journey that weaves together Middle Eastern and Balkan cultural and folk music traditions - with just a touch of Spanish influence - by highlighting the distinctive tonal character of the maqam hijaz and freygish modes in a recitation and dance.

The opening of the piece is contemplative and emotional, featuring solo cadenza figures across each of the seven parts in the ensemble, creating a formless and improvisational atmosphere reminiscent of the doina, a popular figure in Jewish klezmer music.

The music then transitions into a jubilant dance in mixed meters, characterized by monody over a rhythmic accompaniment. This section is a tribute to traditional Arabic music, particularly in its imitative heterophonic figures within the 3/8 sections. The rhythmic qualities of the accompaniment echo the sentiments of the freilach (Yiddish for “happy” or “cheerful”), which is one of the most popular klezmer dances. Modulations throughout the piece occur in fourth intervals, according to the melody’s natural movements across different jins, or tetrachord-like figures in the maqam or mode.

In many ways I wanted this piece to sound organic in both its form and execution, with the melodic movements and harmonic modulations almost improvisatory in nature. Some percussive elements are incorporated as well, though they’re not defined in the score; players can stomp, clap, drum, or engage in whatever form of expression they feel the music inspires. My intent with the piece was to create something fun and inclusive that would nurture a sense of community across the ensemble members, the audience, and people of different cultures through shared joy and empathy.

This piece was commissioned by Dr. Nicholas Councilor and the clarinet choir at the University of Texas at San Antonio for their recital performance in the Spring 2024 semester.

Grade: Intermediate, High School+

Instrumentation: Eb Clarinet, Bb Clarinet 1-4, Bass Clarinet 1-2

Duration: ca. 5:00

Program Notes:

Lost in Reverie is a piece inspired by a journey into the world of daydreams. Become lost in reflective contemplation and whimsical imagination! Through charged melodies, colorful harmonies, and a lot of rhythmic momentum, this piece invites listeners and players alike to embark on a delightful adventure, exploring different landscapes of the mind.

Melodies pass frequently between voices and technical demands are spread across the entire ensemble, giving each player equal opportunites to showcase their skill and creating a dynamic and engaging performance for both players and audiences alike.

This piece was commissioned by Dr. Nicholas Councilor and the clarinet choir at the University of Texas San Antonio for their performance at the TMEA conference in February of 2024.

Grade: Beginner, 1+ years of study

Instrumentation: Bb Clarinet and Piano

Duration: ca. 6:30

Program Notes:

Eventide is a full three- movement sonata designed specifically for a first or second year player. My purpose for creating this piece was to motivate early players to create thoughtful sounds using adventurous music that encourages fundamental musicianship skills - all without fretting over complex notes and rhythms. Using just a bit of mode mixture, modulation, and a few non-chord tones, simple melodies are given more life by the accompaniment to immerse students in colorful pictures of nighttime scenery. The solo part remains keyless with accidentals so that players may focus more on tone production and other fundamentals instead. In addition, much of the solo music is limited to the left hand upper joint, like most other beginner clarinet music, with a few exceptions for added challenge.

Grade: High Intermediate, High School+

Instrumentation: Bb Clarinet and Piano

Duration: ca. 7:30

Program Notes:

"Five Spatial Abstractions" is a piece written as an exercise in form and harmonic exploration. Throughout the course of five broad sections, thematic material in the clarinet part follows a loose ABCBA form, while the accompaniment is through composed - perhaps, ABCDE form. They shift gradually from consonance to dissonance by the final variation, primarly using intervalic relationships: cluster chords, tritones, second intervals, third intervals, and finally fourth and fifth intervals, with some connective material between sections.

The pitch content is entirely restricted to a single eight-note scale, which is established in the clusters in the first measure of the piece. Despite this restriction, the ever-changing harmonic and rhythmic figures in the accompaniment allow familiar passages in the clarinet to become reimagined in new contexts. Once resolution is about to be achieved by the end of the piece, the final measure reiterates the chords from the opening.

The five sections are characteristically unique and pay homage to some of the various musical styles that have made impressions upon me throughout my musical journey. Because of this there is a little bit of everything: from violent aggression, to light playfulness, to propulsive energy, to quiet thoughtfulness, to dramatic expression, to subdued tension. Players may find this piece to be an exercise in contrasting styles.