Symphony No. 3, subtitled “ex nihilo”, was commissioned by Captain Brian O. Walden and the U. S. Navy Band which recorded the work and took it on a national tour in 2015. The work also exists in a version for symphony orchestra. While a traditional symphony has four movements – fast, slow, dance movement and finale, Symphony No. 3 alludes to these four parts, yet is complete in a single movement. The work explores multiple tonal worlds (traditional, quartal, 12-tone, synthetic scales,etc.) which appear individually, overlapping, in conflict and in consort. Various themes associated with each tonal area interact as individuals in a drama. The final section of the work propels it to a powerful resolution in B major followed by silence and the reflective echoes of previous tonalities and themes like ghostly remnants of a dream. Symphony No. 3 is dedicated to William Hipp, musician, educator and mentor. Concerto for Alto Saxophone was composed for Dale Underwood, who retired from the United States Navy Band after having achieved the rank of Master Chief (thehighest enlisted rank in the Armed Services). In 2011, Underwood premiered the wind ensemble version of the piece at the annual International Saxophone Symposium, hosted by the Navy Band and the chamber version with the 21st Ensemble. The concerto follows the traditional format of three movements (fast-slow-fast), and demands a staggering array of musical and technical skills from the soloist. The piece opens with a pulsating ostinato marked Feroce!, over which the solo saxophone leaps and soars acrobatically. The second movement, poco Lento, is earnest and lyrical, a slightly melancholy motif with delicate accompaniment. The final movement, poco Andante/Allegro molto, is an adrenaline-fueled rush to the end, featuring stunning feats of dexterity, range and power. - Andrew J. Skaggs Children’s Suite No. 2, is a short orchestral suite incorporating three works which can be played together or individually: 1. Hana’s Day Out is the orchestral version of Sapphire Overture (written originally for symphonic band). The work begins as a rollicking multi-layered fanfare leading into an introspective lullaby. Following is a development of the opening materials and eventual return which leads to a triumphant closing fanfare. The work is dedicated to my daughter, Hana, who is a brilliant cellist, composer, writer and dancer. 2. Lullaby for Chelsea Rose was written as a celebration of the birth of my niece, Chelsea Rose Nicastri, and was a gift for my sister-in-law, visual artist Laura Tan. Featuring solo oboe, the work moves from the intimacy of chamber music to full orchestra before returning to its original calmness. Chelsea is a pianist and exceptional German scholar. 3. Leylie’s Great Escape was written for my daughter, Leyla and depicts her phenomenal spirit and fortitude. A three part work lasting barely 1 minute, the asymetrical layerings reflect her unique sideways crawl and playful spirit. The work was later expanded and became the finale to Symphony No. 2 “Little Leylie” incorporating a lullaby I used to sing to her each night. Leyla is an accomplished visual artist, composer and harpist. PARALLAX, a dramatic work for euphonium and wind ensemble in one movement, explores one of my favorite brass instruments and is written and dedicated to Timothy Shade. The work opens with the soloist appearing as protagonist and we, as listeners, find ourselves thrust into the middle of a drama rather than the beginning. The word parallax comes from the Greek parallaxis, meaning "alteration": a series of cellular musical thoughts, altered and positioned in various ways to create new material simply by their realignment. Most of the musical building blocks are presented in the opening few seconds. The work unfolds in a series of expanding episodes based on this musical DNA. Expository and developmental themes slip one into the other and are transformed by context, like a parallax view.