Hymn to the Night
In 1984, I was directing a small amateur mixed chorus in Atlanta, Georgia. Wanting to take advantage of the opportunity
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The Ciompi-Withers Duo
As an undergraduate at Duke University (1966-1970), I had the good fortune of studying with two outstanding performers, pianist Loren
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An Evening in Minnesota
On two occasions during my musical career I have journeyed to the snowy hinterlands of Minnesota to give recitals. My
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Curiosity of the Composer
In a previous blog post, I shared some advice I have offered in response to queries from young composers. As
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The Keyboard Calendar
Our Western tonal system is based on 12 pitch classes, in which seven of the pitch classes are given more
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A Fugue for Oboe and Piano
The finale of my Sonata for Oboe and Piano is a playful, energetic rondo in D minor, where the predominantly
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The Story of the Adagio
March 21, 1985 was the tricentennial of the birth of Johann Sebastian Bach. On that day I completed my Adagio
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Piano Gallery of Atlanta
In the fall of 1992, having recently completed my Piano Sonata No. 4, I played a series of three recitals,
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Advice to Young Composers
In recent years I have received several inquiries from young composers or would-be composers, asking me: “How do you compose?”
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Thoughts on Meter, Harmony, and Musical Perception
The Academic Papers section of my website includes a PDF scan of a paper that I delivered at the Music
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Nocturnal Conversation
One of the chief tools of an effective composer is contrapuntal imitation. In my Nocturne for Woodwind Quartet, segments of
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Melody as Organism
An effective melody is like a living organism. It develops through stages, each stage growing organically out of earlier stages.
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On the Other Hand
Piano fingering is in my opinion very personal. Pianists vary considerably in hand size, flexibility, and technical skills, and these
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On Scarlatti and Italy
Over a year ago, I posted here about my stay in Siena, Italy, in the summer of 1968. That was
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Recording Dynamics
Producing recordings of classical music, especially Romantic music, presents unique challenges. Consider the audio profile of my Prelude No. 5 (both
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