Composures (2000-2004), in Four Voices, for Flexible Instrumentation

These four short, contemporary pieces (fast, fast/slow/fast, slow, very fast) in four voices, are designed to be practical and playable by a wide variety of wind instruments in standard ensembles, such as woodwind or brass quartets, or in non-standard combinations.  In each part extreme highs and lows and special techniques have been avoided to facilitate maximum flexibility of instrumentation.  13-14 minutes for the entire suite; moderately challenging. Any combination of the following is possible:

Soprano: trumpet, cornet, clarinet, alto clarinet, soprano sax, alto sax, oboe, flute 8va

Alto: trumpet, cornet, clarinet, alto clarinet, alto sax, horn, English horn

Tenor: trombone, euphonium, horn, bassoon, alto clarinet, bass clarinet, alto sax, tenor sax

Bass: trombone, euphonium, tuba, bassoon, bass clarinet, baritone sax

While saxophones will combine with brasses easily, dynamics may need to be adjusted if brasses are combined with other woodwinds.  Brasses are encouraged to experiment with mutes, especially in softer passages. The movements have no specific programs beyond the titled states of mind; each employs gestures and textures that attempt to suggest its title.  Thus “Composures” is a sort of pun, referring not only to a personal condition, but also to the limited thematic material and compositional techniques applied in each movement.

• $20 for score, demo, and the 4 specific parts you need (transposed as necessary, of course); order here if you want just four parts.

• $35 for score, demo, and parts for the entire list of instruments above; order here if you want the complete set.

I. Fixation - This movement employs three essential textures, all somewhat obsessive in behavior: terse motives tossed about in erratic but insistent imitation, solos with motoric, harmonically static accompaniment, and a few brief sections in rhythmic unison to punctuate the form.  The tempo is steady and vigorous throughout; note that the demo recording includes a simple drum beat improvised for this live performance.  Duration about 2:30.

II. Consultation - This movement alternates between lively, metrical sections and slow, expressive sections.  With the exception of a few brief unison passages, it is always concerned with some sort of conversational exchange-- sometimes between individual voices and sometimes between pairs.  Duration about 3:50.

III. Rumination - This is slow, dark and brooding throughout, with a suggestion of inner turmoil that rarely boils to the surface.  Duration about 3:40.

IV. Vacillation - As the title suggests, this is largely concerned with sudden and extreme contrasts with a humorous edge.  The form is loosely a sonata; the developmental middle section is slightly more stable in character than the outer sections.  Duration about 3:15.