Chamber Music
A Tre (for flute alone)
1989, 1 movement, 6 mins.
Theodore Presser Co.
A Tre is a three-voice fugue for solo flute.
Grand Prize, 1990 Delius Composition Competition
Winner, 1991 NFA Newly Published Music Competition
Chaconne (tuba and piano)
1999, revised 2000, 1 movement, 7 mins.
Magnolia Music Press
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 on the Ceiling
1991, revised 2002, 1 movement, 6 mins.
Magnolia Music Press
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”.

Centaur compact disc CRC 2111
Griffin Campbell, alto saxophone
Lauren Davis, violin
James Hanna, viola
Daniel Cassin, cello
Concerto for Alto Saxophone and Orchestra
2008, 2 movements, 16 mins.
Magnolia Music Press
Piano reduction of orchestral version. Orchestral version is available on rental (see below under the Orchestral section).
Concerto for Alto Saxophone and Piano
1988, revised 2000, 3 movements, 16 mins.
Magnolia Music Press
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).
Congo Square (8 percussionists)
1994, revised 1999, 1 movement, 8 mins.
Magnolia Music Press
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.
No commercial recording available
LSU Percussion Ensemble
Michael Kingan, Director
Reviews
Das Echo von New Orleans (alto saxophone and piano)
2006, 3 movements, 8 mins.
Magnolia Music Press
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.
No commercial recording of the alto sax version is available. See below for the sopranino sax version.
Griffin Campbell, alto saxophone
Jan Grimes, piano
Das Echo von New Orleans (sopranino saxophone and piano)
2006, 3 movements, 8 mins.
Magnolia Music Press
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.

Arizona University Recordings AUR CD 3136
Farrell Vernon, sopranino saxophone
Jan Grimes, piano
Divertimento (arrangement for violin and viola)
2010/revised 2013, 3 movements, 11 mins.
Magnolia Music Press
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.
Divertimento (flute and viola)
2010/revised 2013, 3 movements, 11 mins.
Magnolia Music Press
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.
No commercial recording available
Katherine Kemler, flute
Espen Lilleslåtten, viola
Florestan & Eusebius (flute and 2 tubas)
2018, 2 movements, 10 mins.
Magnolia Music Press
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.
Buy sheet music of both versions (flute and 1 tuba, and flute and 2 tubas): $30 US
Buy PDF of both versions (flute and 1 tuba, and flute and 2 tubas): $22.50 US
No commercial recording available
Katherine Kemler, flute
Joseph Skillen, tuba I
Allen Carpenter, tuba II
Florestan & Eusebius (flute and tuba)
2018, 2 movements, 10 mins.
Magnolia Music Press
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.
Buy sheet music of both versions (flute and 1 tuba, and flute and 2 tubas): $30 US
Buy PDF of both versions (flute and 1 tuba, and flute and 2 tubas): $22.50 US
Grand Mamou (flute and piano)
1991, 4 movements, 15 mins.
Magnolia Music Press
On rental
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

Centaur compact disc CRC 2146
Katherine Kemler, flute
Jan Grimes, piano
Reviews
Guttersnipe (for bassoon alone)
1992, rev. 2000, 2 movements, 6 mins.
Magnolia Music Press
Guttersnipe is in two short movements each of which explores various extended techniques.
No commercial recording available
William Ludwig, bassoon
Reviews
Hambidge Quavers (oboe and bassoon)
1989, 1 movement, 9 mins.
Theodore Presser Co.
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 (flute and alto saxophone)
2002, 2 pieces, 8 mins.
Magnolia Music Press
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.

Centaur compact disc CRC 2146
Katherine Kemler, flute
Griffin Campbell, alto saxophone

“Interactions”, Avid Sound Records 20141
AVIDduo — Brittany Primavera, flute, Jeffery Kyle Hutchins, sax

“Tipping Point”
Reuben Councill, flute, Gail Levinsky, sax
Quintettino (woodwind quintet)
2012, 2 movements, 10 mins.
Magnolia Music Press
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.
Summer Scag By A Lake (two saxophones)
2009, 2 movements, 3 mins.
Magnolia Music Press
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 (oboe and cello)
2019, 3 movements, 8 mins.
Magnolia Music Press
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”.
Buy sheet music: $17 US (available for sale after the premiere)
Soloist with Ensemble
Concerto for Alto Saxophone and Orchestra
2008, 2 movements, 19 mins.
Magnolia Music Press
On rental
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.
No commercial recording available
Griffin Campbell, alto saxophone
University of Georgia Symphony Orchestra
Mark Cedel, Director
Concerto for Alto Saxophone and Wind Ensemble
1988, revised 2000, 3 movements, 16 mins.
Magnolia Music Press
On rental
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).
No commercial recording available
Griffin Campbell, alto saxophone
LSU Wind Ensemble
Frank Wickes, Director
Short Stories (solo flute, percussion, strings)
2016, 3 movements, 15 mins.
Magnolia Music Press
On rental
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.
No commercial recording available
Maria Fernanda Castillo, flute
Gustavo Miranda, percussion
Régulo Stabilito, conductor
Simple Serenades (solo bassoon, percussion, and strings)
2013, 2 movements, 15 mins.
Magnolia Music Press
On rental
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.

Mark Records compact disc 51932-MCD
Gabriel Beavers, bassoon
Mancini Institute Orchestra
Scott Flavin, Artistic Coordinator and Resident Conductor
Reviews
Orchestral
Canray (string orchestra)
1999, 2 movements, 13 mins.
Magnolia Music Press
On rental
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.
No commercial recording available
Reviews
Clara (orchestra)
2014, 1 movement, 10 mins.
Magnolia Music Press
On rental
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.
Filé (orchestra)
2003, 1 movement, 8 mins.
Magnolia Music Press
On rental
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.
No commercial recording available
Music School Festival Orchestra (Chautauqua Music Festival),
Timothy Muffitt, director
Reviews
In Plain Air (orchestra)
2011, 1 movement, 10 mins.
Magnolia Music Press
On rental
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 by Clara Schumann (orchestra)
2015, 3 movements, 7 mins.
Magnolia Music Press
On rental
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.
Wind Ensemble
Chalumeau
1987/rev. 2000, 1 movement, 5 mins.
Carl Fischer, Inc.
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.
No commercial recording available
LSU Wind Ensemble
Frank Wickes, Director
Scintilla (wind ensemble)
1985/rev. 2000, 1 movement, 7 mins.
Carl Fischer, Inc.
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.
No commercial recording available
LSU Wind Ensemble
Frank Wickes, Director
Vocal
Amid Disquieting Dreams (a cappella choir)
2002, 2 movements, 4 mins.
Magnolia Music Press
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.
No commercial recording available
Cantoria (Truman State University)
Mark Jennings, director
Four Cajun Songs (voice and orchestra)
2005, 12 mins.
Magnolia Music Press
On rental
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.
No commercial recording available
Thomas Hueber, tenor
Truman State Symphony Orchestra
Sam McClure, Director
Les Amours et les Beaux Jours (mixed choir, children's choir [or sopranos], solo tenor, orchestra)
2009, 4 movements, 17 mins.
Magnolia Music Press
On rental
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.
No commercial recording available
Paul Baker, Tenor
Chorale Acadienne
Children’s Chorus
Acadiana Symphony Orchestra
Mariusz Smolij, Director
Old Cajun Songs (mixed choir and piano)
2009, 2 movements, 7 mins.
Magnolia Music Press
Two movements from Les Amours et les Beaux Jours arranged for mixed choir and piano.
Three Cajun Songs (voice and piano)
2005, 8 mins.
Magnolia Music Press
Selections from Four Cajun Songs arranged for voice and piano.
No commercial recording available
Trinquez, Trinquez (a cappella choir)
2002, 3 movements, 6 minutes
Magnolia Music Press
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.
No commercial recording available
North Dakota State University Madrigal Singers
Michael Weber, Director
Walking Across The Atlantic
2002-2003, 3 songs, 5 mins.
Magnolia Music Press
Settings of “Walking Across the Atlantic,” “Budapest,” and “The Dead.”
No commercial recording available