Shipwrecked on the frozen coast of Antarctica, an explorer has little choice but to wait and hope for another vessel to pass by and rescue him. His time is short, however, for in the wreck the explorer was exposed to the icy Antarctic water. He can feel the cold eating away at his soul, seeping into his bones. As hypothermia sets in, the explorer thinks he sees a ship on the gray horizon, sending a flutter of joy through his body and mind. Real or not, however, the ship disappears in the distance, and the explorer accepts his impending end as he drifts into an eternal sleep.

Each movement of this piece explores a different mood and compositional style in an attempt to demonstrate the diversity of playing techniques that wind instruments can offer. I. Invention is bright and energetic and contains technical passages within counterpoint. II. Passacaglia is dark and dramatic and contains rapid dynamic changes in a variety of registers in each instrument. III. Allegro Vivace is adventurous and persistent and contains strict rhythmic adherence with minimal harmonic development. And IV. Largo Bruscamente - V. Cantabile transitions from jagged and deranged to sweet and wistful, switching from microtones at unusual intervals to melodies in common-practice harmonic relationships.

The centerpiece of Montana's Glacier National Park is Going-to-the-Sun Road, a winding pathway through the heart of the Rocky Mountains. The road begins at serene Lake McDonald before its rapid ascent between two enormous peaks. Doubling back at Crystal Point, it climbs ever higher up the back of mountains straddling the Continental Divide until it triumphantly reaches Logan's Pass, the highest point of the journey. The road then crosses over the Divide and gently descends to Saint Mary Lake, where its awe-inspiring trek comes to a reflective end.

A bear steps out of his den and breathes in the crisp autumn air. Sauntering through the forest, he surveys his fellow creatures as an overseer does his subjects. He is the undisputed king of the region, and this thought carries him happily back to his home for winter hibernation. However, just as his senses are beginning to dull by his slumber, he is suddenly awakened by unusual footsteps. Peering outside his den, he spots no less than three humans on the hunt! He bolts away in terror, a predator turned prey. Through the hunters are hot on his heels. the bear ultimately escapes their clutches and rejoices in the preservation of his life and reputation.

This piece transforms the hero's theme from "The Kingdom Suite" into a solemn proclamation of the source of all wisdom. Solomon's original words in Proverbs 9 are as much a warning against foolishness as they are a recognition of God's sovereignty, mirrored in the music through the juxtaposition of a dominating minor modality with passages and cadences of brighter character. The work is anchored by the harmonic progression of the borrowed theme, of which each chord correlates to the important words of Proverbs 9:10. In all, the piece is intended to provoke a profound sense of insight in accordance with the text's message while at the same time instilling the seriousness of rejecting God.

"Drei", German for "three", was used as the creative impetus for most aspects of this piece. The 'rule of three' began with instrumentation: there are three percussionists, each of whom plays three instruments. These nine instruments were classified based on three characteristics – register, tonality, and timbre – that are further sub-divided into three different categories. Timbre was then used in tandem with the 'rule of three' to implement a basic ternary structure – the first section centers on metallic instruments, the second on woods, and the third on drums. An intensity curve with three distinct dynamic peaks frames each section. Derived from this curve are the only three dynamic levels (pp, mp, and f) used throughout the piece. Finally, groupings of three notes in various rhythmic permutations comprise the bulk of the compositional material.

The Nine Muses of Greek mythology were said to preside over and inspire the fundamental arts of the Ancient Greeks. They are: Calliope (epic poetry), Polyhymnia (sacred hymns), Terpsichore (dance), Thalia (comedy), Erato (love poetry), Melpomene (tragedy), Euterpe (lyrical poetry), Urania (astronomy), and Clio (history). Tackling the essence of each of these figures is this collection of character pieces set for Pierrot ensemble. Built upon a rotating nine-tone row and touching upon signature elements of major periods in music history, these movements are as much an experimental mixture of the modern with the traditional as they are colorful personifications of the mythological immortals for which they are named.

This fixed media soundscape is inspired by the sights and sounds one might experience on a high-risk descent into the deepest trenches of the ocean. Programmatic in construction and execution, the work makes use of various pipe organ sounds – from conventional manual playing to more experimental sounds such as blowing into pipes and rattling the sheet music ledge – to communicate an engrossing deep-sea journey. The listener begins near the ocean’s surface staring down into the depths before sinking down into the dark, the cold, and the pressure. At the very bottom of the ocean floor, the listener explores his/her surroundings, discovering several anomalies and a host of alien life. The piece concludes with the listener’s splashing return to the surface, energized by the otherworldly sights far below.