Inner3

Complete Works:

Etude, Op. 1 no. 1 and no. 2   for piano

Night Shadows, Op. 2     for marimba

Prelude, Op.3    for piano

Prelude, Op.4      for piano

Song for French Horn and Piano, Op. 5

On The Third Day, Op. 6  for timpani and piano

Op. 7, Allegro  for piano

Mood change, Op. 8   for piano

Against love, Op. 9 for voice and piano

Gathering Hope, Op. 10 for marimba

Fantasia, Op. 11 for piano

Prophecy, Op. 12  for percussion trio

Eli Eli lama sabachthani, Op. 13  for marimba

Sonata for violin, Op. 14, 3 Mvmts

Augur Ill, Op. 15  for timpani

Prelude, Op. 16 for percussion septet

Postlude, Op. 17 for piano

Rhapsody for Violin (Nouveaux Amour Propre), Op. 18 for violin

Simplicity, Op. 19 for multiple percussion

Rebirth After Fire and Brimstone, Op. 20 for percussion ensemble

The Ascension, Op. 21  for Mallet ensemble

Nada rhythmica, Op. 22 for violin

E-motionless, Op. 23 for violin

Prelude, Op. 24 for violin

Son Montuno Del Diablo, Op. 25 for timpani

Trio, Op. 26 for string trio

Etude, Op. 27 for piano

Outside Looking In, Op. 28, 4 Mvmts for Marimba

Evolution, Op. 29 for hand percussion

Lake of Fire, Op. 30 for congas and djembe

The Devil's Last Tango, Op. 31  for marimba

Autumnal Equinox, Op. 32   for marimba

The Darkest Hour, op. 33 for marimba

Impasse, Op. 34 for marimba

Year of the Tiger, Op. 35 for Percussion Ensemble

All Things Come to Pass, Op. 36 for Percussion Ensemble

Hokkaido Jishin, Op. 37  Percussion Ensemble

Goliath, Op. 38  Marimba and Cello

Tsuyaku, Op. 39  Percussion Ensemble

Pandora, Op. 40 for marimba

Fugue in G minor, Op. 41 for marimba

Phoenix Rebirth, Op. 42 for marimba

Be Still, Op. 43 for marimba

Legendary, Op. 44 Conga Solos

Requiem for 9/11, Op. 45  for marimba

The Well-Tempered Marimbist, Op. 46 for marimba

Yoshin, Op. 47 for percussion ensemble

Etudes, Op. 48 for concert snare

Prometheus and Pandora's Rhapsody, Op. 49 for marimba

Hikari Yuushi, Op. 50 for marimba

Berceuse, Op. 51 for piano

Leviathan, Op. 52 for multiple percussion

Path of the Light Warrior, Op. 53 for marimba

Purgatory, Op. 54 for percussion ensemble

Symphony No. 1, Op. 55 for large orchestra

30 Timpani Etudes, Op. 56 for solo timpani

Subjective Reality, Op. 57 for piano

String Quartet, Op. 58 for string quartet

American Rhapsody, Op. 59 no.1, for marimba

Lazarus Taxom, Op. 60 for percussion ensemble

Night, Op 61  for solo trumpet

String Quartet No. 2, Op. 62 for string quartet

Temptation of Christ, Op. 63 for marimba

Unfinished Dream, Op. 64 for marimba

Through the Clouds, Op. 65 for B-flat Clarinet

Out of the Mind, Op. 66 for percussion ensemble

Optical Migraine, Op. 67 for percussion solo

Symphony No. 2, Op. 68 for orchestra

Wall of Clouds, Op. 69 for B-flat clarinet

Implosion, Op. 70 for string quartet

One, Op. 71 for violin and piano

Deference for Bach, Op. 72 for solo cello

The First Frost, Op. 73 for solo piano

Passacaglia in C# Minor, Op. 74 for solo violin

Fantasy of Icarus, Op. 76 for percussion ensemble

Mark of Cain, Op. 77 for chamber ensemble

Psalm 40, Op. 78 for chorus (SATB)

Ju, Op. 79 for percussion ensemble

Blinded by the Light, Op. 80 for french horn

After the Rain, Op. 81 for marimba

Fantasy, Op. 82 for alto saxophone

Meditating in the Lion's Den, Op. 83 for mallet keyboard ensemble

Mephisto's Spree, Op. 84  snare etudes

String Quartet No.3, Op. 85 "Archangels" for string quartet

Passacaglia in F# Minor, Op. 86  for cello

The Asylum, Op. 87 for percussion ensemble

Organic, Op. 88 for percussion ensemble

Breaking Strongholds, Op. 89 for marimba

The Nest, Op. 90 for chamber ensemble

Never Too Late, Op. 91 for marimba

Rising Heat, Op. 92 for percussion ensemble

Symphony No. 3, Op. 93 "Crucifixion" for orchestra

November Leaves, Op. 94 for marimba

A Voice Calls, Op. 95 for chamber ensemble

The Garden, Op. 96 for cello

Monocots, Op. 97 for trombone

Solemn, Op. 98 for bassoon

Gigue in D Major, Op. 99 for viola

Transparent, Op 100 for vibraphone

For Ilyse, Op. 101 for piano

Etude in C Minor, Op. 102 for marimba

Dream Crushers, Op. 103 for percussion ensemble

Reap What You Sow, Op. 104 for viola

Consigliere, Op. 105 for trumpet trio

Carmel, Op. 106 for brass quartet

Jericho, Op. 107 for brass quartet

End of the Storm, Op. 108 for marimba

Tu'i Tonga, Op. 109 for percussion ensemble

VIC, Op. 110 for timpani

Marimba Quartet No. 1, Op. 111 for marimba quartet

Gath, Op. 112, for flute and marimba

Symphony No. 4, Op. 113 "Four Horsemen", for Orchestra

Suite for Marimba, Op. 114, for solo marimba

Armour, Op. 115, for solo marimba

Emperor's Crown, Op. 116, for snare solo

Via Dolorosa, Op. 117, for solo marimba

Olive Branch, Op. 118, for Large Flute Ensemble

String Quartet No. 4, Op. 119, for string quartet

Grace of Jesu, Op. 120, for cello

Stranger Things in Wonderland, Op. 121, for band

Quick Walk, Op. 122, for marimba

Ekphrastic, op. 123, for snare drum

Cedar, op. 124, for trumpet and french horn

Golden Candlestick, op. 125, for trumpet

Sidon, Op. 126, for percussion ensemble

Rock of Etam, op. 127, for alto saxophone, tenor saxophone, and trumpet

Dream of a Tree, op. 128, for flute

TB Etude, op. 129, for trumpet

Massah and Meribah op. 130, for concert band

Numbers 21, op. 131, for solo tuba

Crossing the Jordan, op. 132, for vibraphone

 Darkest Hour Program Notes

Autumnal Equinox, Op. 32

This is a chorale written for marimba to exploit to beautiful sonorities of the instrument.  The piece was written with the idea of ever-changing moments to depict the idea of the seasons changing.   There are times when rolls are used which expresses warm, lush sounds interchanged with moments without rolls in a rubato feel.  The piece is dedicated to my wife Autumn for our 1^st Anniversary. 

The Devil’s Last Tango, Op. 31

Tango is a musical genre with many different dance forms from Buenos Aires, Argentina, Uruguay, and spread across the world thereafter.  A faster predecessor to the tango is known as the Milonga.  It was a solo song that consisted of eight measures in 2/4.  I use the same rhythm, but with a twist by putting the tango rhythm in odd time signatures such as 10/8, 7/16 and 18/16.  It is a virtuosic piece, but one that is fun to play.

Impasse, Op. 34

This piece has an improvisational type of feel.  The idea was to write a piece that told to story of someone who was torn between 2 or more decisions and the process the person went through to come to a conclusion.  The result is an extremely fast and virtuosic work expressing the power of the mind and the frustration that comes when one has trouble with a decision. 

The Darkest Hour, 4/3/0033, Op. 33

4/3/0033 is the date scientists have traced back for the date of the Christ’s Crucifixion.  Since this was my thirty-third composition, I decided to use the number “3” as the basis of the piece.  The 3 measure theme is in ¾ time and is based off of 3 notes.  Also the piece begins and ends in E-flat major which uses three flats in the key signature.  The piece is about the events that took place during the hours between the third and ninth hours that the crucifixion took place. 

The 9th hour is the same as 3 p.m. (Evening to evening---For example, the 12th hour would be the last hour of the day---about 6 p.m.)  For there to be darkness at 3 o’Besides the fact that it had been four days to the hour since the voice came to Cornelius, it was also the same hour that Christ died on the cross. The veil was rent---the Old Covenant had passed away, and now, here, Peter is being reminded of the full liberation of the Sons of God under this New Covenant. I think the fact that 3 p.m. was highlighted twice in the story of Acts 10, that therefore, Peter would have looked for why 3 p.m., and would have easily have had his mind led by the Spirit to the 3 p.m. of the cross.  Moreover, Cornelius was a centurion; recall the other centurion at the foot of the cross---at 3 p.m. ("9th hour") when Christ died---He said, "Surely this was the Son of God." This scene was a forerunner of Acts 10 when the Gentiles begin to stream into the Church.

"And when the sixth hour was come, there was darkness over the whole land until the ninth hour.
34 And at the ninth hour Jesus cried with a loud voice, saying, Eloi, Eloi, lama sabachthani? which is, being interpreted, My God, my God, why hast thou forsaken me?
35 And some of them that stood by, when they heard it, said, Behold, he calleth Elias.
36 And one ran and filled a spunge full of vinegar, and put it on a reed, and gave him to drink, saying, Let alone; let us see whether Elias will come to take him down.
37 And Jesus cried with a loud voice, and gave up the ghost.
38 And the veil of the temple was rent in twain from the top to the bottom.
39 And when the centurion, which stood over against him, saw that he so cried out, and gave up the ghost, he said, Truly this man was the Son of God." (Mark 15)

The death of the Son of God and Son of Man was of such a magnitude that the hand of God shook

the earth in Divine judgment. The separation of Jesus’ Spirit and Body - the most awful event in the

history of history - was accompanied by a heaving of the land. God the Father, Who had forsaken

His only-begotten Son until all was finished ... until all these things had been accomplished ... heard

the prayer of His Son and was with Him at the moment of death, receiving Him into His hands. And

the earth quaked, and the rocks were split. This presence of God caused the earth to quake and the

rocks to split. Thus do the enemies of God tremble in servile fear at this visitation of the Judge. Thus

do the children of the Lord tremble in godly fear in the wake of Jesus being taken into Paradise by His Father. The music concludes with several instances of the music separating from itself to represent this event.

The piece also references to the Dies Irae in multiple applications.  Dies Irae is translated as “Day of Wrath” and is based upon Zep 1:14-16, a reflection upon the final judgment. It was formerly part of the Mass of the Dead and the Office of the Dead. Today it is found in the Liturgia Horarum for the last week of Ordinary time (34th). In placing it there, the emphasis is upon the upcoming Advent season and the Second Coming of Christ. In Diocese of the United States, it is still used in the Office of the Dead and the Feast of All Souls (Nov. 2).

The piece is in a modified sonata form, which is another representation of the n number 3 as there are three parts to the form.  The ending although fast and violent concludes with an E-flat chord heard in the beginning to symbolize Christ conquering death. 

"Ideas are the beginning of all achievement."

-Bruce Lee

Notable Commissions

 Stuart Langsam, University of Oklahoma (2) 2016

Rhythm Scene! 2016

Alabama State University (6) 2014

Faulkner University (4) 2014

Park Crossing (3) 2014

Alabama State University (3) 2013

Faulkner University (4) 2013

Alabama Christian Academy 2013

Faulkner University (4) 2012

Alabama State University 2012

Faulkner University (3) 2011

Alabama State University 2011

Alabama State University (5) 2010

Alabama State University 2009

Austin Peay State Universiy 1999

Austin Peay State University 1998

Christian County High 1997

Clarksville High 1996