Difficulty: Intermediate college to professional

Instrumentation: Flute, Clarinet in Bb, Bassoon, Percussion (1 player), Piano, and Strings [div 4.2.2.1], plus optional narration or projected text

Percussion Used: Snare Drum, Bass Drum, Marimba (Low Db), Suspended Cymbal, Temple Blocks

Text: “Rocky Summer” by Kimberly R. Osberg

Difficulty: High school or early college (some gestures include an ossia staff for less-advanced players)

Techniques: pizzicato, gliss, tremolo, trill, col legno battuto, crush tone, molto sul pont.

Instrumentation: Violin 1, Violin 2, Viola, Cello, Bass, and optional piano

Difficulty: High school or late middle school

Techniques: aleatory, circular bowing, crush tone, percussive knocking, molto sul pont, molto sul tasto, tremolo, trills, pizzicato

Instrumentation:
Violin 1, Violin 2, Viola, Cello/Bass

Duration: 6’00”

Commissioner: Kristen Flak, Glacier Creek Middle School

Inspired by the phenomenon of sonoluminescence (using sound to create light), Star in a Jar was written as a way to introduce younger players to a wide variety of textures, techniques, and effects on their instruments. In experiments, scientists were able to cause molecules in a jar of water to vibrate violently using speakers; the molecules vibrated so fast, and with such intensity, it caused a brilliant, blue glow like a star. The piece focuses on this violent and intense transformation—including both lush and beautiful melodic moments with simple accompaniment, as well as sections of true chaos and cacophony. By using clear and simple instructions, players of many different difficulty levels are able to approach the work successfully, creating a fun and unique performance experience for young players—and a truly explosive one for listeners!

Pricing

Digital: $35

PDF includes a full score and individual parts formatted for page turns.

Difficulty: High school

Techniques: molto sul pont, molto sul tasto, tremolo, pizzicato

Instrumentation:
Violin 1, Violin 2, Viola, Cello, Bass

Difficulty: High school

Techniques: col legno battuto, molto sul pont, glissando, molto sul tasto, tremolo, snap pizz, pizzicato

Instrumentation:
Violin 1, Violin 2, Viola, Cello, Bass

Duration: 6’00”

This work is an arrangement of a string quartet written in 2015. Inspired by a friend’s recent dental surgery, Extracted Wisdom is a set of movements that captures the four stages of the procedure—the first movement filled with whirling and clacking like a machine taking pictures, the second movement ebbing in and out of consciousness, the third precisely poking before tissue snaps away, and finally the crushing drills downward and subsequent debris scattering about. This short work lasts less than the procedure it was inspired by, and promises to be much less painful for both performer and audience!

Pricing

This work is still being written. Check back July 2024!

In the meantime, you can enjoy the string quartet version!

Difficulty: Intermediate college to professional

Instrumentation: Flute, Clarinet in Bb, Bassoon, Percussion (1 player), Piano, and Strings [div 4.2.2.1], plus optional narration or projected text

Percussion Used: Snare Drum, Bass Drum, Marimba (Low Db), Suspended Cymbal, Temple Blocks

Text: “Rocky Summer” by Kimberly R. Osberg

Duration: 14’15”

Commissioner: Dallas Chamber Symphony (Richard McKay)

When I first started writing this piece, the experience it was based on was simply a fun memory: a hike in the Rocky Mountains gone a bit awry. Lagging miserably behind the rest of the group, falling into a lake when I (finally) got to the top, and ending up eye-level with a thunderstorm, the adventure turned out to be much more than what I bargained for—and having a much deeper impact than I ever could have imagined. The work can be successfully presented with spoken text over the ensemble, projected text advanced throughout the piece, or as a soley instrumental work.

The ensemble works to create a fully-fledged soundscape of the journey up and down the mountain, leading listeners to what they expect is the peak of the work—only to drop them off somewhere else entirely by the end.

Pricing

Digital: $50

PDF includes a full score (transposed and/or in C) and individual parts formatted for page turns. A pre-existing Powerpoint with separated text is also available at no additional charge.

Difficulty: Intermediate college to professional

Vocal Range: A3-B5

Instrumentation: Mezzo-Soprano Soloist, Flute, Oboe, Clarinet in Bb, Bassoon, Horn in F, Trumpet in C, Trombone, Bass Trombone, Percussion (2 players), Harp, Piano, String Quartet, and Double Bass

Percussion Used: Claves, Temple Blocks, Triangle, Suspended Cymbal, Vibraphone, Bass Drum, Snare Drum

Text: “hashtagmasonjar” by Kimberly R. Osberg

Duration: 9’00”

I had long been fascinated with the process people undergo when they post on social media. hashtagmasonjar explores the inner monologue of a user as she puts together a simple post consisting of a selfie with some hashtags.

The work goes through details about the post itself, a lengthy attempt at picking a flattering filter for the posted photo, reactions to receiving likes to her post, as well as some passing thoughts about the comments left on her post and the people posting them. Throughout the work, we get glimpses of other relationships and conflicts she hasn’t shared.

The work’s innate theatricality, angular text-setting, simple pitch material, and melodramatic musical gestures contribute to a quirky—yet ultimately relatable—work about the social media we use every day.

Pricing

Digital: $35

PDF includes a full score (transposed and/or in C) and individual parts* formatted for page turns.

*Piano reduction included for vocalists, but is not intended for performance.

This work is in three movements:

1. Herbs (4’15”)
2. Cycads (3’15”)
3. Succulents (5’00”)

Difficulty: Intermediate college to professional

Instrumentation: Piccolo, Flute, Oboe, English Horn, 2 Clarinets, 2 Bassoons, 2 French Horns, Percussion (1 player), and strings [4.4.4.4.2 recommended]. Optional harp part included.

Duration: 12’30”

This is an arrangement of a chamber ensemble work from 2021. Commissioned by Colton Sprenkle as part of the Spring Forward commissioning series, this three-movement work is inspired by different plant forms.

In the first movement, Herbs, a large variety of colors and textures are explored—sweet and full, light and airy, piquant and playful—capitalizing on the vast breadth of the ensemble’s coloristic potential.

The end of the movement highlights the bassoon's upper register as in the chamber version—seamlessly moving into Cycads. This breezy second movement gusts and billows in a spirited sequence of trill-like figures and scalar passages, set against a series of lusher, melodic moments.

The final movement, Succulents, offers nearly as many colors and textures as its namesake—percussive knocks, extreme registers, dynamic contrasts, and raw energy throughout permeate this final movement. The result is a complete showcase for each member of the ensemble, sure to capture the imagination of any listener.

Pricing

This work is still being written. Check back June 2024!

In the meantime, you can check out the chamber ensemble version! (headphones recommended due to quiet noise level)

This work is in three movements:

1. Thin Aire (5’30”)
2. Bearceuse (3’45”)
3. Sun(ata) Burnt (4’15”)

Difficulty: Intermediate college to professional

Instrumentation: 2 flutes (doubling picc), Oboe, English Horn, 2 Clarinets, 2 Bassoons, 4 Horns, 2 Trumpets, 2 Trombones, Tuba, Percussion (3 players), piano, harp, and strings [6.6.4.4.2 recommended].

Duration: 13’30”

This is an arrangement of a chamber ensemble work from 2013. Mountain Dances was written in the summer of 2013 in Estes Park, Colorado.

Inspired by the lush forests, towering peaks, brilliant sunshine, and even the occasional bear spotting, the suite encompasses a wide variety of moods, colors, and textures.

In Thin Aire, the bouncing rhythms and intricate voicings work to create a perpetually swirling soundscape that is simultaneously light and lush.

In Bearceuse, both bear and lullaby appear in the piano's extreme registration and the reeds' lyrical and singing melodies.

Sun(ata) Burnt sizzles, burbles, and shimmers in colorful sustains, playful mixed meter grooves, and sweeping melodies that weave between the instruments.

The result is an eclectic and approachable work that packs a punch throughout its modest duration—taking listeners roaming, tumbling, and dancing their way through the wilderness.

Pricing

This work is still being written. Check back August 2024!

In the meantime, you can check out the chamber ensemble version!