Works

A Tre is a three-voice fugue for solo flute.
Grand Prize, 1990 Delius Composition Competition
Winner, 1991 NFA Newly Published Music Competition

Air was written for Katherine Kemler (flute) and Griffin Campbell (alto sax), each a Professor of Music at LSU. The first movement uses a variety of extended techniques including air sounds, key clicks, pitch bends, multiphonics (two or more notes played simultaneously), and harmonics. The second movement is a simple ABA form in a fast tempo. In the
movement’s final section, however, the instruments start together but diverge as the flute speeds up while the saxophone slows down.

Buy sheet music: $17 US (available for sale after the premiere)

This work is divided into two large sections. The opening section is slow and lyrical and gradually exposes the six “polychords” on which the entire piece is based. The second section is quite fast and consists of eleven variations on the chord progression (and motive) found in the opening section.

Chaconne was a required work for Tuba Artist finalists in the 2004 Falcone International Euphonium-Tuba Competition, for the Tuba Artist semifinalists in the 2010 ITEA Competition, and for the Tuba Artist semifinalists in the 2014 Falcone Competition.

Cherubs is a single-movement scherzo which pits a decidedly uncherubic saxophone against the three string instruments. Some extended techniques are used in the sax part. Cherubs was commissioned by an anonymous donor who wished to commemorate Clarence Laughton’s book of photographs entitled “Ghosts Along the Mississippi”.

Piano reduction of orchestral version. Orchestral version is available on rental (see below under the Orchestral section).

The subtitle of this work is “Latin Steps” since each movement makes use of various Latin-American dance rhythms. Much of the first movement uses a rumba rhythm in a moderate tempo. The second movement is a tango, and the finale is a fast dance in 6/8. The work’s harmonic language, however, is quite chromatic and makes no attempt to evoke folk music.

This work is also available on rental for alto saxophone and wind ensemble (see the Wind Ensemble section below).

The eight percussionists of Congo Square are divided into two groups of four. The first group usually performs music in a different meter and tempo from the second group. At the climax of the piece both groups play simultaneously resulting in conflicting meters and tempos.

Das Echo von New Orleans is a three-movement fantasy on the German Catholic hymn, Grosser Gott. I decided to use this hymn tune after hearing a performance of it by an amateur church choir in the tiny community of Roberts Cove, Louisiana in November of 2005. In fact, a recording of that performance begins this piece (a CD is included with the score and part). Early in the composition of Das Echo, I decided to avoid a straightforward theme and variations on the hymn tune. In fact, the melody is never completely stated in any movement. Instead, I decided to allude only to snippets of the melody. Somehow, I felt this was more appropriate given the physical and emotional turmoil left in the wake of Hurricane Katrina.

Das Echo was commissioned by saxophonist Farrell Vernon.

The piano part in the first movement of this version of Das Echo differs somewhat from the alto saxophone version. Saxophonists may order both versions for $35. Contact Magnolia Music Press directly (via email or phone) to order both versions.

My Divertimento for flute and viola was written for flutist Katherine Kemler (Professor of Music at Louisiana State University) and violist Matthew Daline (Professor of Music at Bowling Green State University). This arrangement for violin and viola was made at the request of Professor Daline.

The first movement, “Canray’s Dream”, is my little homage to the great Louisiana Creole fiddler, Canray Fontenot. The second movement, “Molto Tranquillo”, is a slow, lyrical movement that uses flute and viola harmonics in the outer sections. The finale, “Cajun Riviera”, make use of some Cajun fiddling techniques along with clashing polyrhythms between the two instruments.

The two movements of Florestan & Eusebius evoke the characteristics of Robert Schumann’s imaginary characters. Eusebius represented Schumann’s cerebral, introspective side, while Florestan represented his passionate, emotional side. The version for flute and one tuba (see above) is quite challenging for the flute and virtuosic for the tuba. This version of the piece (for flute and two tubas) provides an “assistant principal” tuba to aid in the extraordinary technical demands on the first tuba.

The two movements of Florestan & Eusebius evoke the characteristics of Robert Schumann’s imaginary characters. Eusebius represented Schumann’s cerebral, introspective side, while Florestan represented his passionate, emotional side. This version of the piece (for flute and one tuba) is quite challenging for the flute and virtuosic for the tuba. The flute and two-tuba version (see above) provides an “assistant principal” tuba to aid in the extraordinary technical demands on the first tuba.

Each of the composition’s four movements is based on a different Cajun folk song. Each folk song is used as the starting point for a new composition which only alludes to the original’s melody and harmony.

Winner, 1995 National Flute Association Newly Published Music Competition

Guttersnipe is in two short movements each of which explores various extended techniques.

Hambidge Quavers is a one-movement work in three main sections. The first section (Molto Allegro) introduces and develops a melody first stated in the oboe. The second section (Meno Mosso) begins by superimposing a tranquil melody in the oboe over a nervous, staccato figure in the bassoon. The last section (Presto) reintroduces some ideas from the first section and makes use of two new melodies. Hambidge Quavers was commissioned and premiered by Mark Ostoich and William Ludwig.

Janus consists of two highly contrasting pieces which may be performed as a group or separately. Extended techniques are used in the first piece.
Janus was commissioned by Christopher and Leigh Ann Rettie.

The Quintettino was written for and premiered by the Timm Quintet at Louisiana State University. The first movement, “Five-Seven”, consists almost entirely of dominant seventh type (V7) chords. The first and second sections of the second movement (“Rondo”) have a circus-act-gone-bad sound to them: dissonant and rather nasty. The “C” section of the rondo is the only point of repose in the movement.

The first movement, “Summer Morning By A Lake”, is a canon using a single multiphonic in both saxes. The second movement, “Scag ‘m”, is based on notes derived from the names of the two saxophonists (Griffin M. Campbell and Michael A. Straus) for whom the piece was written.

The first movement should be played on two saxophones of the same type (2 altos, 2 tenors, etc.). The second movement should be played by two saxophones pitched in the same key (2 altos, alto and bari, soprano and tenor, etc.).

Each performer plays from a score. Two scores are included in the purchase price.

The Devil’s Dictionary was commissioned by and is dedicated to Dr. Mark Ostoich, Professor of Oboe at the Cincinnati College-Conservatory of Music. Each of the work’s three movements was inspired by a word definition found in Ambrose Bierce’s sardonic lexicon “The Devil’s Dictionary”. The first movement, “Dawn”, evokes the strange sounds heard as the sun rises. “Fiddle” was inspired by the fiddling of the great Louisiana Creole fiddler Canray Fontenot. The final short movement, “Circus”, is my little homage to the greatest work ever written for dancing elephants: Igor Stravinsky’s “Circus Polka”.

The first movement, “Berceuse pour la Nouvelle-Orléans”, is a lullaby for a damaged New Orleans. The second movement, “Passacaglia”, is a set of variations on a 6-1/2 beat bass line.

A piano reduction of this concerto can be found above under Chamber Music.

The subtitle of this work is “Latin Steps” since each movement makes use of various Latin-American dance rhythms. Much of the first movement uses a rumba rhythm in a moderate tempo. The second movement is a tango, and the finale is a fast dance in 6/8. The work’s harmonic language, however, is quite chromatic and makes no attempt to evoke folk music.

This work is also available for sale in a piano reduction (see the Chamber Music section above).

I have long believed that a musical composition is a personal communication between the composer and each individual listener. The composer is saying something specific to the listener that might be interpreted as exciting, dull, engrossing, tedious, moving, or simply anodyne — much like the conversations we have with each other every day. Although the title of each “story” (“Barcelona”, “Berceuse”, “Caracas”) alludes to a different culture, no attempt has been made to evoke local music. Each story has something to say — exactly what that is isn’t important. How each listener responds to the tales is all that matters.

Simple Serenades was composed in 2013 for Gabriel Beavers, Professor of Bassoon at the University of Miami. The title reflects the fact that each movement emphasizes the lyrical qualities of the bassoon.

Canray was commissioned by the Louisiana Sinfonietta and makes use of common fiddling techniques found in the music of south Louisiana Cajuns. The work uses these fiddling techniques as the basis for a new composition which only briefly alludes to one Cajun/Creole melody.

Clara is based on excerpts of music by the 19th-century pianist and composer Clara Schumann (1819-1896), wife of Robert Schumann (1810-1856). Melodies and excerpts of chord progressions from three of her compositions are used: the Piano Concerto (1833-1836), Valses Romantiques (for solo piano, 1835), and the late Marsch (for piano four-hands, 1879). My intent in this piece was not to arrange Clara’s music, but to reimagine it in a way that places her wonderful ideas in a new and different context. Clara was premiered by the Baton Rouge Symphony (Timothy Muffitt, Music Director) in 2016.

The word “filé” has two meanings for the composer. Most people from south Louisiana will know that filé is ground sassafras and that it is used as a seasoning in gumbo. The word also means “spun” or “thread”—a perfect allusion to the “spinning out” of the work’s opening chord to create the various motives and melodies found in this piece.

Filé was premiered by the Baton Rouge Symphony (Timothy Muffitt, Music Director) in November of 2003. It was the winner of the 2005 Truman State University/MACRO Society Composers Competition.

In Plain Air is a one-movement fantasy based on a lyrical melody I decided not to use in the slow movement of my Divertimento for flute and viola. After the lyrical beginning, a fast section expands on the melody. In Plain Air was premiered by the Shreveport Symphony (Michael Butterman, Music Director) in 2015.

Three Romances is an orchestral arrangement of pieces for solo piano by the 19th century pianist and composer Clara Schumann (1819-1896). The three pieces span a time period from her days as a young touring piano virtuoso (the opening movement) to one of her last published compositions (the second movement). The Prelude of the final movement was composed during the time that she and her husband Robert were studying the fugues of J.S. Bach.

Chalumeau is a “dirge” (a slow, mournful song performed in commemoration of the dead) for wind ensemble. It is a relatively short work (about five minutes) which makes use of one primary melody first heard in the “chalumeau” (low) register of the clarinets. The work avoids any clear tonal center and is rather quiet throughout.

Chalumeau was premiered by Frank Wickes and the Louisiana State University Wind Ensemble. It was written in memory of two of my brothers, David Edward Hayden and Vernon Cecil (“Pat”) Hayden.

Leviathan is in two movements: a slow opening movement (“Awakening”) and a fast second movement (“The Hunt”). The introduction of the first movement incorporates harmonic series in the horns and tubas which use notes which are out-of-tune with the rest of the ensemble. (Horn and tuba players normally change fingerings to correct those out-of-tune notes, but that is not done here.) The second movement is a chaconne — a form based on a repeating chord progression. The chord progression heard at the beginning of the movement is heard, in various forms, in the seven variations that follow.

A “scintilla” is a spark. The notes of the opening scale (a synthetic or “made-up” scale) provide the kernel or spark from which much of the material of the piece is derived. The work is in one movement and makes use of one primary theme and several subordinate melodies. All of the melodies in the piece are related, in some way, to the notes of the opening scale.

Each movement sets the same text taken from the book of Job (verses 13-16). The first movement emphasizes the unsettling and somewhat frightening aspect of Eliphaz’s mystical experience. By contrast, the second movement attempts to convey a sense of calm and awe which, perhaps, one might feel in the presence of a divine being.

My Four Cajun Songs for voice and orchestra was commissioned by the Epsilon Pi chapter of Sigma Alpha Iota and the Upsilon Phi chapter of Phi Mu Alpha Sinfonia at Truman State University. The commission resulted from my orchestra piece, Filé, winning the Truman State University/MACRO Society 2005 Composition Competition. It was premiered at Truman State in 2005.

See Three Cajun Songs below for a piano reduction of three movements.

This work was commissioned and premiered by the Acadiana Symphony Orchestra (Mariusz Smolij, Music Director) for its 25th anniversary. Each of the four movements is based on an old Cajun folk song from the Alan Lomax recordings of 1934.

See Old Cajun Songs below for a piano reduction of two movements.

Two movements from Les Amours et les Beaux Jours arranged for mixed choir and piano.

Selections from Four Cajun Songs arranged for voice and piano.

Trinquez, Trinquez is a choral arrangement of three Cajun folk songs: Ma Chère Bassette, Mes Petits Yeux Noirs, and Trinquez, Trinquez. The melody of each song is, for the most part, kept intact. The chords, however, are often changed.

Ma Chère Bassette (My Dear Little Woman) and Mes Petits Yeux Noirs (My Little Black Eyes) are both concerned with the plaints of broken-hearted lovers. Trinquez, Trinquez (Toast, Toast), on the other hand, is a Christmas drinking song as remembered by the great Creole fiddler Canray Fontenot.

Settings of “Walking Across the Atlantic,” “Budapest,” and “The Dead.”