Compositions / Arrangements

Click on a category below to be taken to available original works and arrangements!

 

Please click on available Youtube links to hear performances of these works and contact me to play any piece on this page!

ONE INSTRUMENT AND PIANO

"Bittersweet Tides for Trumpet and Piano" (2021)

Bittersweet Tides was written for trumpet player Autumn Mortenson for her senior recital.  Autumn writes: "Bittersweet Tides follows a slow, fast, slow pattern. The opening is contemplative, but not sorrowful. Both the melody and the accompaniment move freely, pausing often, creating a sense of timelessness. They dialogue pleasantly, but with little finality. Each dissonance invokes a deep sense of longing, but it uncertain whether the longing is for moments that have already passed or for moments that are to come. Unresolved pitches are left floating in the air, offering no definitive word on the matter.

Suddenly, the music shifts. The listener watches a flashback from the time before these memories were made. The melody presses forward, bright-eyed, hopeful, and energetic. Driving eighth notes in mixed meters encourage the melody to keep running onward. At its peak, the melody breaks away from the driving accompaniment. It soars in duple and triplet rhythms against the irregular 7/8 meter. There is no looking back at the best moments in life – these are the best moments in life.

As abruptly as it arrived, the fast becomes slow once more. This time, however, there is more contentment and acceptance. There is a season for everything and a time for every purpose. Only when the final chord is struck does the listener feel a full sense of completion. The only word to describe it is bittersweet."

"Mesosphere for Horn and Piano" (2021) 
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This piece was written for horn player Julia Hoyes for her senior recital.  The two movements, entitled "Noctilucent" and "Cirrus" convey emotions of flating amongst the clouds in two starkly different atmospheres.  Written in a minimalist style, the accompaniment of both movements is simple and sparse, with slight changes between the subtle chord changes.  "Noctilucent" evokes a darkness, possibly drifting amongst the rain-soaked clouds where the moon breaks in and out of the shifting masses of fog.  "Cirrus"  is quick-moving and the horn line floats above the accompaniment with soaring phrases that rise and fall as thick rolling clouds roll across the sky with dramatic dynamic shifts and open intervals to evoke space and depth.

"Distant Echoes for Horn and Piano" (2021)
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This piece was commissioned by hornist Steven Cohen in memoriam of his dear friend and piano collaborator, Jed Moss.  When Steve reached out to me to write this piece, I knew that anything that is written to honor someone's memory should reflect their life.  I never got the pleasure of meeting Jed, but knew of his work on Steve's most recent album Cruise Control.  And the more that I looked into Jed's life, I saw the memories that everyone was sharing, with his multifarious career as a musician in all genres and the wonderful effect and nature he evoked from everyone, I knew I had to write something that showed a sense of loss, but also conveyed a vivacious spirit.  "Distant Echoes" has two distinct sections with a broad and rich sounding slower section, evoked by deep chords that are simple and convey a sense of mourning, but with a joy for the life represented.  This transitions to a much more rollicking second section with adventuresome melodic lines and an augmented version of the original melody from the beginning.  All in all, I enjoyed writing this piece and trying to capture the wonderful memories of Jed Moss.

"Dance Triptych for Horn and Piano" (2021) 

I. Circle Dance

II. Ballade

III. Humoresque

This work was written for my good friend Derek Pothoff and his Master's recital at UNCG.  Dance Triptych is a collection of songs written to showcase the athletic and lyrical abilities of the horn and the piano as collaborators through evocative melodies, described by their movement's titles. The Circle Dance begins energetically and feels circular as the same opening statement from the horn keeps coming back in different forms throughout the movement. The Ballade, not necessarily a dance, evokes slower motion with a simple and lyrical horn melody sounding over flowing piano lines, weaving in and out of both voices in melodic and accompanimental figures. The Humoresque, also not a dance, is a lively movement with a bouncy melody in the horn that almost sounds march-like, except for the instances of surprising tonalities and meter changes. Humoresque seemed an appropriate title by the unexpected shifts of time signature that occur, sudden range changes in the piano accompaniment, half valve and stopped horn usage, and syncopated rhythms utilized.

"Bist du bei mir for Horn and Piano" - Bach, arr. by Drew Phillips (2020)

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This arrangement was conceived as the beginning of a recording project in the beginning of the global pandemic of COVID-19 that occurred in March 2020.  Without any of my music that I would practice (because we were not to return to campus and my office containing music), it was left to me to arrange anything new for myself.  This was the start of a project to keep my playing chops alive by recording something new everyday during this stretch of time without access to much of my literature.  This Bach aria is very popular with instrumentalists and my arrangement is quite simple for even the most beginning horn player.

"Frostfall for Horn and Piano" (2020) - also arranged for Trumpet and Piano
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Frostfall is a work originally for Horn and piano that is also transcribed for C trumpet and piano. The beginning starts out slowly with the instrumentalist beginning the call while the piano answers. This slow opening gives the picture of snow melting as spring begins to show forth. The tempo then slowly changes to a quick, vibrant section with the piano playing lots of syncopated rhythms against the melody. The more the piece progresses, the more the you will get a sense that the landscape is coming to life. With syncopated, moving lines from the solo voice as well as the piano, they create a feeling of life. It ends warmly and comfortably as the instrumentalist finishes on the tonic giving it a sense of finality while the piano finishes out this beautiful piece.  This whole piece calls for the soloist and piano to work together in regards to meter as this piece frequently changes time signatures and has syncopation aplenty. 

"Bloom for Trumpet and Piano" (2020) - also arranged for Horn and Piano

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This piece was written for trumpet player Annie Green for her senior recital.  Annie writes: "Dr. Phillips composed “Bloom for trumpet and piano” for me to perform in my senior recital. For those of you who don’t know, I started a floral design business called Annie’s Blooms about a year ago. After graduation, I am planning on pursuing the growth of Annie’s Blooms full time. I love flowers. I love them because they remind me of us. Their life is a progression of constant growth. They are never absolutely perfect, but even along with their imperfections, they are beautiful. And although their beauty is temporary, it points us with a sense of hope toward the only beauty that is eternal. This piece grows and blossoms like a flower progressing into maturity. I hope you enjoy the beauty of it as much as I do."

"Euphoric Ride for Trumpet and Piano" (2020)

This piece was written for trumpet player Josiah Marsh for his senior recital. Taking into account the personality and joyful state of Josiah, this piece is exuberant and rollicking in nature, with lighthearted piano and trumpet parts that reflect an exciting ride through life. The piece, written in ABA form, leads the listener through an A section full of celebratory statements and joyful fanfares for both instruments, a B section with a simple lyrical melody reflecting the more beautiful and solemn moments of life, and a returning A section culminating in an exciting ending. The piece utilizes Ionian and Lydian modes frequently to give a lifted feeling of discovery and anticipation throughout the work.

"Solemn Trails for Horn and Piano" (2019) 

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This piece was written in the winter months of 2019 after a particularly gray and rainy period, in which the sun barely came out.  I noticed how different everyone's mood was in the sun's absence and wrote a piece to commemorate this feeling.  As well, this piece is indicative of the paths we take in life, remembering that we all travel solemn trails at times, but they all resolve into sunlit and bright courses if we continue moving forward.  This piece is perfect for younger players or for those wishing to fill out their solo recitals with something lyrical and beautiful for the audience to enjoy.   With a range of F#3 to G5, anyone can find enjoyment performing this work!

"Constellations for Horn and Piano" (2017)

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I. Lyra

II. Aerostaticus

III. Volano

This piece was written in three movements for horn and piano in description of three old constellations out in the galaxy.  The constellation Lyra is often depicted as a vulture or eagle with a lyre, reflected in the lyrical quality of the movement.  Aerostaticus translates from Latin as "hot air balloon", with this movement as a light waltz that feels like it is gently floating along in the sky.  Volano is taken from the constellation Volans, depicted as a flying fish, and is written heavily in Lydian mode to reflect a constantly lifted feeling.  The piece ends mysteriously in a cluster chord as if the flying fish has zoomed far away towards the edge of the galaxy.

"Celtic Sketches for Trumpet and Piano" (2017) - also arranged for Horn and Piano

Click a movement to hear the piece!

I. Ancient Tale

II. Highland Hymn

III. Reel

 

This piece was written for trumpet player Drew Harris for his senior recital. The work lasts approximately 12-13 minutes and lays in a very accomplishable range for the player.  The work evokes the many moods and ideas associated with the Celtic tradition that will liven up any recital program with this exciting programmatic theme! For horn players playing this, the range is extremely limited and good for those looking to work in their mid to low range!

"Peregrination" (2014) 

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Dedicated to James Naigus, this work travels through a variety of styles throughout the course of the piece.  The piece begins with a lyrical horn line, with the melody traveling through an expedition that develops into a fast-paced and exciting finale.  The collaboration between the horn and piano amounts to an exciting work that fills out any performance. 

"A Western Fantasy" (2013)

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Comprised of two sections, this solo is great for a beginning student who wants to play an exciting work with a limited range.  The beginning section features a "lazy cowboy" theme with many opportunities for pitch bending with the hand in the bell.  This builds and culminates into the rapidly paced second section, featuring runs in the horn part that lie extremely well under the fingers, finishing off the piece with a fiery flash of power*.

*Horn part in recording has optional 8va sections that younger students do not have to play!

 

"A River Lullaby"  (2012)

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A work that embodies the flowing gentleness of a river, winding serenely through the wilderness and gradually tumbling with rougher and rougher waters before finishing with a beautiful soaring melody that illustrates a wash into the open ocean.  This piece is for the advanced hornist with two accompanied recitatives and extended, flowing phrases.

 

"Suite for Horn and Piano" (2012)

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I. Falling Asleep

II. Flying

 

Composed of two movements, entitled "Falling Asleep" and "Flying."  This work gives vision to a person who falls into a restful sleep after a tiring day, giving way to a lively embodiment of a "flying" dream that sends the listener soaring through clouds and over the landscape. 

 

"Six Studies in English Folk Song" - R. Vaughan-Williams, arr. by Drew Phillips (2011)

 

An arrangement of Vaughan-Wililams' work for cello that compliments the horn through the six movements that Vaughan-Williams says to "be treated with love."  The movements and folk songs used include:

I. Lovely on the Water

II. Spurn Point

III. Van Dieman's Land

IV. She Borrowed Some of her Mother's Gold

V. The Lady and the Dragon

VI. As I walked over London Bridge

 

 

UNACCOMPANIED HORN

 

"Soar and Groove for Solo Horn" (2017)

Click here to be redirected to the Cor Moto Horn Duo website for free download!

The Cor Moto Horn Duo ran a live contest during the spring of 2018 in which a lucky viewer during a live streamed pre-recital talk at the University of Central Missouri would be chosen to have an original piece written and dedicated to them.  Illiana Martinez from the University of North Texas was the winner, so James and I decided we would write a two movement unaccompanied piece for her.  James wrote the Soar and I wrote the Groove, and both are extremely distinct, not only because of styles of the contrasting tempi and athleticism needed to play, but indicative of the differences between James' and my own sounds we love to use.  This piece is free for everyone to download and play at the above link  to the Cor Moto Horn Duo website, where it can be downloaded.

 

"Jest for Solo Horn" (2013)

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This unaccompanied piece is perfect for beginners just getting into the study of working on musicality on a solo work.  The range exists between an octave and a half, from g to c-sharp^2, and many options can be taken to extend the range for a challenge.  The short solo features a fast-slow-fast form that beginners can use to practice finding a story to identify with and get comfortable changing moods and styles in a given piece.

 

 

TWO HORNS

"Theme from Paper Mario: The Origami King for Two Horns and Piano" (2021) - arr. by Drew Phillips

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During the COVID-19 pandemic, no one was getting together to make live music, and the Cor Moto Horn Duo was looking for ways to continue making music together. It's no secret that James and I are video game fans and as I had just started a playthrough of the extremely newly released Paper Mario game, I was struck by a gorgeous piano melody about 20 minutes into the game.  I immediately put the controller down, listened, and thought "This would be beautiful for two horns and piano."  For even more information about how the piece came together, feel free to check out the Technique Tips column in the October 2020 edition of The Horn Call​.  The piece features both horns playing lines together and weaving in and out of the melodic statement with the piano with some original countermelodies that offset the gorgeous writing of Mr. Yoshito Sekigawa.

"Odyssey for Two Horns and Piano" (2018)

This piece was commissioned by Dr. Maria Serkin and Dr. Mark Norman at the University of North Carolina School of Arts in Winston-Salem, NC.  The instrumentation for this commission was extremely well timed as I had just begun working on Gary Kulesha's Sonata for Horn, Tuba, and Piano, and the sound of it influenced the writing and texture of the piece.  The piece is entitled Odyssey because a student of mine (on first and preliminary listen when the work was completed) claimed "It sounds like a prelude to Homer's The Odyssey!" With that specific of an association, it was only natural to name it as it is!  The piece is 7'30 in length in ABA form, and utilities some extreme ranges of both horn and tuba.  The original version was premiered on November 8th, 2016 at the University of North Carolina School of the Arts.  The two horn and piano version was premiered at the Southeast Horn Workshop at Western Carolina University with Dr. James Naigus and the composer in 2018.

 

"Radiance for Two Horns and Brass Ensemble" (2014) 

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*Also available with Horn Duet and Piano reduction!

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This new work was written for horn virtuosos Radovan Vlatkovic and Robert Ward to act as soloists with the Bay Brass Ensemble in the summer of 2014 at the Summer Brass Institute at Menlo Park Music Festival.  The work was premiered on July 14, 2014 at the Bay Brass' Concert on the Stanford University campus in Palo Alto, California.  The work features a riveting motive in the horn part that opens the work, and permeates throughout the piece, trading off with the ensemble accompanying and enhancing the radiant brass sounds.  A piano reduction of the work is also available for performance!

 

TRUMPET, HORN, AND PIANO

"Harrowing Sky for Trumpet, Horn, and Piano" (2018)   

*Recorded by Conspiratus Brass on their debut album in 2020 available on Spotify!*

I. "Presaging, ominous clouds endlessly roll..."

II. "...as a somber, solemn raindrop simply falls..."

III. "...heralding the break of daylight."

This commission was funded in part by the Meir Rimon Commissioning Assistance Program of the International Horn Society for the Conspiratus Brass Duo, Drs. Kiirsi Maunula Johnson, horn and Jim Johnson, trumpet.  This piece depicts a swirling, ominous storm in the first movement that dissolves into a sad solitary rain in the second and finally breaks with the sun coming up in a giant blaze in the third movement.  This piece was premiered at the 2018 Midwest Horn Workshop by the Conspiratus Brass Duo at the University of Central Arkansas.

HORN, TUBA, AND PIANO

"Odyssey for Horn, Tuba, and Piano" (2016)

This piece was commissioned by Dr. Maria Serkin and Dr. Mark Norman at the University of North Carolina School of Arts in Winston-Salem, NC.  The instrumentation for this commission was extremely well timed as I had just begun working on Gary Kulesha's Sonata for Horn, Tuba, and Piano, and the sound of it influenced the writing and texture of the piece.  The piece is entitled Odyssey because a student of mine (on first and preliminary listen when the work was completed) claimed "It sounds like a prelude to Homer's The Odyssey!" With that specific of an association, it was only natural to name it as it is!  The piece is 7'30 in length in ABA form, and utilities some extreme ranges of both horn and tuba.  This was premiered on November 8th, 2016 at the University of North Carolina School of the Arts.

HORN QUARTET

 

"Gray's Harbor March for Horn Quartet" (2021) - arr. by Drew Phillips

 

Click here to hear the piece!

Another pandemic piece, this was always a favorite piece from middle school band and I set out to arrange it for horn quartet because I thought it worked well.  Program notes for the original work say: "Here's an energetic concert or festival opener by Steve Hodges. Grays Harbor March was commissioned by the George B. Miller Junior High School in Aberdeen, Washingtion. This exciting march was written in two distinct styles. Set in the minor mode, the driving opening will give your trumpets a chance to show off their rhythmic skill. Then, a graceful transition leads to the flowing middle section in the relative major, only to return back to the original theme for the fantastic finish." 

"Three Spaces for Four Horns" (2014) 

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I. Small Space

II. Dance Space

III. Broad Space

 

This work was written to be premiered at the University of North Carolina-Greensboro Horn Choir Concert in November of 2014.  The three movements are based on intervallic material and meant to be played by young quartets of students, also working well with a horn ensemble and multiple people on one part.

 

 

HORN QUINTET

 

"Oops!" for Horn Quintet (2010)

(Click here for score preview)

 

This humorous compilation of famous horn orchestral excerpts and notable pieces is great for a crowd-pleasing ensemble work.  Highlights from famous works include Tchaikovsky's Fourth, Siegfried's Rhine Journey, Pictures at an Exhibition, Shostakovich's Fifth, Ein Heldenleben, Till Eulenspiegel, Star Wars, Schumann's Konzertstucke for Four Horns and the 1812 Overture.  Needs very independent players on each part.  Premiered at the University of North Carolina-Greensboro's John Philip Sousa Concert as a part of "Showing Off Before Company."

 

 

HORN OCTET

"Ukrainian National Anthem for Horn Octet" (2022) - arr. by Drew Phillips

Written for Dr. Abigail Pack and the UNCG Horn Studio, this was a commission for the 2022 Southeast Horn Workshop hosted at the University of North Carolina-Greensboro. This work is available to anyone and is free to download.  Featuring close harmonies but very idiomatic voice-leading, this arrangement can be played by any level of horn player.

"Adventurous Fanfare for Horn Octet" (2021)

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This piece came out of the COVID-pandemic and features rousing and exciting lines for each horn player and serves well as a concert opener. A t about two and a half minutes long, the piece explores would I think sounds like the beginning of a heroic quest or journey for the player and creates exciting rhythmic interplay between all parts.

"Wind Waker Fantasy for Horn Octet" (2020)

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It's no secret that the Zelda franchise is my favorite set of video games and the Wind Waker is my favorite to play.  The music is so rich and varied that after one particular playthrough, I decided to mash together all my favorite themes from the game for horn octet.  The piece is of a fairly advanced level for all players and is lengthy at almost 10 minutes in duration ands demands much independence from each player. There is an optional piano accompaniment and moments that feature bell taps and mouth sounds for percussive effect.

"Still Waters for Horn Octet" (2018)  

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This piece was premiered on August 3rd, 2018 at Ball State University at the International Horn Symposium.  The piece was written to be premiered in a concert for presenting brand new pieces for horn choir repertoire.  When writing this piece, I wanted to create something peaceful sounding and colorful, accentuating the tones and mellow sounds you can get from a horn choir.  I have been camping for the vast majority of my life and there is nothing more serene to me than sitting by a body of water early in the morning or late in the evening where the water is as smooth as glass and everything is still.  Imagining that, I set out to write something that naturally evolves from a single tone to more complex and colorful harmonies throughout, but always flowing and smooth.  This piece is meant to sound relaxing and tranquil, and shows off the beautiful sounds of the horn in colorful polyphony.

"Exultant Fanfare for Horn Octet" (2016) 

 

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This quickly-paced octet alternates between an arpeggiated motive to fanfare a thrilling opening and a seamless blend of interweaving lines  The piece features musical opportunities for every player with soloistic lines.  This piece won the Composition Contest at the 2016 Northeastern Horn Workshop at the University of Indiana-Pennsylvania and was performed by artists on the final concert.

 

 

"Por Una Cabeza" for Horn Octet by C. Gardel, arr. by Drew Phillips (2012)

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This arrangement of Carlos Gardel's famous tango from the movie True Lies and Scent of a Woman is an energetic work for horn octet.  The work is arranged for two quartets (horns 1-4 and 5-8) that feature each of the top two horns as the soloists and virtuosic parts.  This was premiered by the University of North Carolina-Greensboro Horn Choir at the Southeast Horn Workshop in Richmond, Virginia and performed at Kendall Betts Horn Camp in the summer of 2013.

 

 

WOODWIND QUINTET

 

"Menuet Antique" by M. Ravel, arr. by Drew Phillips (2012)

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This arrangment from Ravel's piano work is for an advanced woodwind quintet looking to expand repertoire.  This arrangement compliments the woodwind colors in respect to Ravel's chords and melodic writing and easily could fill out a chamber or solo recital.

 

 

"Hunting" for Woodwind Quintet (2012)

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This original work is for the advanced woodwind quintet meant to evoke a story of hunting through the rainforest for an animal, coming across natives of the jungle and a whirling chase scene to an ambiguous end.  The work features a motive in the bassoon part that permeates the entire piece, ending by being inverted in the final moments of the piece to give a new flavor to the music.

 

 

BRASS CHOIR

"Angels We Have Heard on High for Brass Choir and Antiphonal Brass" (2019)

Instrumentation:  (all off-stage parts can utilize other instruments rather than exact instrumentation)

  • On-Stage Choir

    • 3 trumpets

    • 2 horns

    • 2 trombones

    • 1 tuba

  • Off-Stage Choir I

    • 4 trumpets​

    • 2 horns

    • 2 trombones

    • 1 tuba

  • Off-Stage Choir II

    • 4 trumpets​

    • 1 horn

    • 1 euphonium

    • 2 trombones

    • 1 tuba

This arrangement was specifically written for Liberty University's Christmas on the Boulevard Ornaments concert in the winter of 2019.  It features orchestral brass on-stage and two off-stage antiphonal choirs.  All instrumentation is subject to be performed on other instruments as the instrumentation of the players available dictate.  The beginning is free-flowing and meant to be accompanied by narration, in which excerpts from the book of Luke were read during the initial performance.  The second section is quick and riveting, featuring all choirs playing rhythmically and with limited range to compliment a wide variety of players.

"Joy to the World for Brass and Percussion" (2018)

Instrumentation:

  • 3 trumpets

  • 4 horns

  • 2 trombones

  • 1 tuba

  • 3 percussion (cymbal, glockenspiel, xylophone)

This arrangement of Joy to the World for orchestral brass and percussion was arranged specifically for the 2018 Christmas on the Boulevard Ornaments concert.  This hymn tells of the coming of Christ, the victory he will have over the earth, and the rejoicing of the nations at the Lord's triumph, and brass exemplify this in their bright and exuberant sounds.  This arrangement begins with a fanfare-like prelude before giving way to an exciting permutation of the Joy to the World melody.  The middle section of the piece slows in feel considerably with broadening lines from all instruments before recapitulating into the original prelude at a much faster tempo and triumphant statements of the carol's melody.

"God Rest Ye Merry Gentlemen for Brass Choir, Antiphonal Brass, and Percussion" (2017)

Instrumentation:  (all off-stage parts can utilize other instruments rather than exact instrumentation)

  • On-Stage Choir

    • 3 trumpets

    • 4 horns

    • 3 trombones

    • 1 tuba

    • 3 percussionists (covering timpani, bass drum, cymbals, marimba, and chimes)

  • Off-Stage Choir I

    • 3 trumpets​

    • 2 horns

  • Off-Stage Choir II

    • 3 trumpets​

    • 2 horns

This piece was written for the 2017 Christmas on the Boulevard Ornaments concert in the winter of 2017.  The piece is a quickly moving and rousing play on the theme of God Rest Ye Merry Gentlemen and features antiphonal brass heard to compliment on the on-stage orchestral brass. The beginning and ending sections are rollicking in nature, while the middle goes into a 6/8 slower feel with broad sonorous sounds from all players.

 

Catamaran for Brass Choir (2013)- 2 tpt, 2 hn, 2 tbn, 1 eph/tuba

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This work was written for the Summer Brass Institute's High School Ensemble.  The work begins in a slowly written adagio, speeding up and culminating through builds to a giant cluster chord before emerging into a lively ostinato in the horn parts.  The piece ends quietly with a "morse code" type of staccato statement after erupting in giant chords with the entire ensemble.  Premiered at the Summer Brass Institute in San Francisco, California in the summer of 2013.

 

 

LOW BRASS TRIO

 

Motivic Moments for Low Brass Trio (2013)

(International Low Brass Trio: Jeff Dittmer-horn, Gabe Cruz-trombone, Jess Rodda-tuba)

I. Preluding Moment

II. Unbridled Moment

III. Recitative and Hymn Moment

IV. Building Moment

V. Final Moment

https://www.youtube.com/watch?v=PLfd3XaPFjM

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This piece was composed for the International Low Brass Trio, a chamber ensemble based in San Francisco, California.  The work features five movements, several of which are seamless in performance.  It is based upon a motive first heard in the prelude by the hornist and varied in different styles throughout the piece in short, stylistic moments.  This work features a vast amount of syncopation and layering throughout the piece.  It's premiere is by the International Low Brass Trio in recital at the San Francisco Conservatory of Music on October 15, 2013.

 

CONCERT BAND

 

Catamaran (2013)

(Click here for score preview)

 

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This piece is based on the septet written for the Summer Brass Institute, however has been massively expanded into a full concert band work.  The work is approximately seven-plus minutes and uses the full colors of the wind band to enhance the performance of the piece.  It begins with a slow adagio section and culminates to a rapid ostinato and lively melody lines.  The piece ends with with a grand return of the beginning adagio section in large chords and ending with an extremely fast coda section.  For an advanced concert band.

 

 

"Por Una Cabeza" by C. Gardel, arr. for Concert Band by Drew Phillips

(Click here for score preview)

 

This arrangement for full concert band is based on Carlos Gardel's tango from True Lies and Scent of a Woman and was premiered in Eldora, IA by the South Hardin High School band under the direction of Mr. Wayne Lu.  Based on the horn octet arrangement, this work is for intermediate concert band with large amounts of doublings throughout sections to make up for what a band may lack in instrumentation.

 

 

The Stars and Stripes Forever by J. P. Sousa, arr. for Young Concert Band by Drew Phillips

(Click here for score preview)

 

This famous  Sousa piece is heard frequently at Fourth of July celebrations every year.  It has been arranged for concert band on a much easier level with respect to younger students' levels of playing so that they can enjoy and appreciate playing well-known literature with they skill they have in their first few years of playing.