Eddie Jennings dot Net

Distant Flourishes is my first saxophone duet. I imagine I composed it somewhere around my sophomore year in college since it marks the time I learned about distantly related keys. It is a midi file that expresses only notes and rhythms.

This was my first attempt (around my sophomore year of undergrad) at a program piece. The idea is for this to be used in a video game scene depicting an ice land or light snowfall. The midi sound is warm pad.

This was my second composition for piano, completed either my freshman or sophomore year in college. What you will hear is a midi, that is strictly notes and rhythms. When I completed the piece, my goal was to create interesting sounding harmonies, as I had recently expanded my harmonic knowledge beyond I-IV-V-I. Also, it was about this time that I had discovered Minimalism and the music of Philip Glass.

This piece was designed to have a dance feel with an occassional 4/4 measure for people who trip while dancing. It's an exercise in moving to distantly related keys.

This was my first composition for saxophone quartet. It was completed during my senior year at UGA in a non-composition majors composition seminar class. It is a work in four connected movements depicting different images of a dream: With Longing, With Life, With Fear, With Shadowed Vitatlity. There are nuances lost in the MIDI version. When I am able, I'll recreate the midi with the proper musical effects.

Standing at the cliff (for solo tenor saxophone) is a work in three brief movements: With contemplation, with celerity, and With finality. It was composed during my senior year at UGA in the same seminar as the Quatour for Saxophones. The usage of "with . . ." for movement titles is an homage to Paul Creston.

This was my first composition for piano, completed during my freshman year of college. It is impossible to be played by one person (a duet could probably handle it). You will hear a midi concerned with only notes and rhythms, for I had just gained a solid foundation in writing functional harmonic progressions.