Concertino consists of two movements, Paean and Dithyramb, either of which may be performed independently. Paean, a work of calm and majestic intensity, is characterized by a rhythmic pulse which is more consistently regular than that of the Dithyramb. Its three major sections form an arch, the final measures (mm. 87-95) returning to the material of the opening (mm. 1-14). The first section begins quietly, Maestoso ma sostenuto, in a very slow tempo. The activity and intensity increase until a brief, more active middle section begins in a faster tempo (Ancora piu mosso, m. 55). A fff climax (m. 63) begins in the third section (Tempo I). After a brief poco piu mosso (mm. 72-81), the opening tempo is restored (m. 82), the opening material returns (m. 87) and the final chord fades away. Dithyramb is a free and dramatic movement in which the musical material of the wind group usually contrasts with that of the string group. The piano, which has its own material, occasionally takes on the character of one group or the other as though mediating the conflict.

White Dawn Streams is a composition for orchestra with tape. The orchestra includes woodwinds (flute, oboe, clarinet, bassoon), brass (horns(2), trumpets(2), trombone, tuba), percussion (timpani, bass drum, snare drum, tom-toms, timbales, temple blocks, suspended cymbal, triangle, xylophone), and strings. The tape was produced using a Synclavier digital synthesizer. The work consists of a single movement approximately eleven minutes in duration. The pitch materials in the work are derived from a single series of pitches and are used in a contrapuntal texture.

Of Variegated Shadows is an original composition for wind ensemble. The purpose of the composition is to contribute a work to college level wind ensemble literature which employs established instrumental techniques and explores the various colors or timbres of the ensemble. The work is a single movement of approximately 15 - 20 minutes duration. It is divided into three continuous sections, each reflecting a different character or mood. A transition couples the first and second sections and a coda concludes the composition with a brief return of the opening section. Textures of the piece are transparent with an emphasis given to the blending of different colors in the ensemble. Instrumentation includes antique cymbals, vibraphone and tam-tam to add subtle shades of color. Thematic materials woven into the texture are linearly constructed as well as vertically layered and fragmented. There is no order or system in which pitches occur, although intervals used reflect the motivic structures in the work.

This is an analysis for Symphonic Portrait: The Patriarch, which is the first in a trilogy of works each depicting one of the Deities in the Holy Trinity. It is scored for symphonic band consisting of piccolo, two flutes, two oboes, E^b clarinet, three B^b clarinets, alto clarinet, bass clarinet, contrabass clarinet, two alto saxes, tenor sax, baritone sax, two bassoons, three B^b cornets, two B^b trumpets, four F horns, three trombones, euphoniums (div.), tubas (div.), string bass, timpani, eight percussionists playing bells, chimes, vibraphone, xylophone, marimba, snare drum, bass drum, three tom-toms (high, medium, low), suspended cymbal, crash cymbals, two tam-tams (large and medium), triangle, tambourine, vibra slap, steel plate, finger cymbals, bell tree, piano, harp, and organ. The music consists of two major parts; the scenario and the main body. Each part lasts six minutes, giving the work a total duration time of about twelve minutes.

A Postcard from Cairo is a chamber work for three performers (flute/soprano saxophone, vibraphone/conga, and electric guitar) supported by stereo tape and two digital sequencers. The musical content is a montage of Arabian, Indian, Spanish, and Moroccan ethnic music, combined with avant-garde sounds. The score reflects a mixture of traditional and contemporary elements featuring extensive use of improvisation and repetition. Each player is required to coordinate his responses in a variety of ways. Cues are governed by an analog clock, and pulses are provided by the tape/sequencer background.