WINTER IS COMING
VOICE AND PIANO (2015) 3'00"

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LYRICS

It's always winter with the Starks
but every ten years winter drags itself South
The words of the Stark house make sure no one forgets
Everyone knows that soon, winter is coming

The king goes up and drags Stark south
Incestuous twins defenstrate Stark's kid
The heir is a bastard in both birth and personality
Revenge is soon because, winter is coming.

Stark finds out quickly the heir is wrong
but the King seemed to never ever know
The queen and her brother scream of Stark's own treason
And all he could say was, "winter is coming."

The queen kills the king that's no surprise
and promising mercy cuts off Stark's own head
We'll remember those words that Stark said a thousand times
At least 'til the next book it's, "winter is coming."

-Amy Johnson and Thomas Goedecke


 

KUʻI
SOLO PIANO (2014) 3'30

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PROGRAM

kuʻi

1. vt. To pound, punch, strike, box, hit, hammer; to beat out, as metals; to churn, as butter; to boom or clap, as thunder; to smite, injure; to jar; to prod, as ʻopihi shells from rocks with a knife, formerly with sharp stones; to clash (as sound). See hula kuʻi Molokaʻi. Piha kuʻi ka hale, the house is jammed full. Kuʻi palu, to pound, as bait [to give a threshing]. With a fronted n-word, for emphasis, kuʻi is used as a stative: ʻA ʻole naʻu ʻoe ā kuʻi, na kēlā wahi keiki …, nāna ʻoe e kuʻi (Laie 387), I won't fight you, that little boy … will fight you. hoʻo.kuʻi To hit, pound, collide, crash, bump. Fig., to hurt the felings. Hālāwai hoʻokuʻi, collision; to collide. Hoʻokuʻi i ka manamana, stub the toe. (PPN tuki.)

2. nvt. To join, stitch, sew, splice, unite; joined; seam. See niho kuʻi. Hula kuʻi, any interpretive hula, so called since the days of Ka-lā-kaua; lit., joined hula, i.e., old and new steps were joined together. Nā lā kuʻi o ke kapu akua, days of godly taboo; lit., days, joined. Aliʻi kuʻi, the power behind the throne, the one who really holds the reins [often used in a derogatory way]. E kuʻi ka māmā ā loaʻa ʻo Kaʻohele, combines speeds and get Kaʻohele [a famous runner, Kaʻohele, could be caught only by relay runners; said of any cooperation]. hoʻo.kuʻi

a. To join, connect, annex, weld, unite; to connect, as letters in forming a word; to spell; to dovetail, fit, splice; to add up, as numbers. ʻAmi hoʻokuʻi, joint. Hoʻokuʻi nei kou alelo i ka hoʻopunipuni (Hal. 50.19), thy tongue frameth deceit.

b. Zenith. Mai ka hoʻoku ʻi ā ka hālāwai, from zenith to horizon.

3. vs. Artificial. Lauoho kuʻi, wig or switch. Niho kuʻi, false teeth. Wāwae kuʻi, artificial leg.

4. n. Back tooth, molar, tusk.

5. vi. To disseminate news; to spread, as news. Kuʻi ka lono i Pelekane, the news spread to England. (PCP tuki.)

6. n. Elbow of pipe.

7. vs. Sheer, steep, tall. Kuʻu kaikuaʻana o ka pali hiʻi, pali kuʻi o Ka-liu-waʻa (chant by Kama-puaʻa), my older brother of the sheer cliff, steep cliffs of Ka-liu-waʻa

"Kuʻi." Nā Puke Wehewehe ʻŌlelo Hawaiʻi. Ulukau -                      Hawaiian Electronic Library, n.d. Web.

WHO NEEDS TO DREAM?
AMPLIFIED GUITAR (2014) 6'30"

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This recording by Chris Hopper is featured on the album "East and West" and is available for purchase for $1.50 in high-quality digital download.  The album is available as a high-quality digital download for $7, and a cassette release by Reel Taped for $8.

 

PROGRAM

For a few years now I’ve kept a little notebook of weird things people say. Sometimes they’re freudian slips or simple comments that seem far more profound out of context. In a lesson with Professor Womack, he commented on my lack of sleep with the comment, “bah! Who needs to dream, anyway?” Me, thinking it quite profound, sought to use it as a title. My only hope is that my friends and colleagues do not read this and begin to filter what they say to me.

This work explores the integration of signal amplification and overdrive in graduation with a classical guitar. A technique employed often by folk/indie guitarists, in a western art setting I found it quite effective. This is achieved with the combination of three isolated sounds: one, a dry signal unaffected; two, a wet signal using an overdrive pedal followed by a volume pedal, effectively controlling the amount of “wetness” in the sound; and three, the sound of the guitar itself.

CAN YOU FIND ME A WATERFALL?
SOLO GAYAGEUM (2014) 6'00"

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This recording by Haein Lee is featured on the album "East and West" and is available for purchase for $1.50 in high-quality digital download.  The album is available as a high-quality digital download for $7, and a cassette release by Reel Taped for $8.

 

PROGRAM

It is almost impossible to avoid writing music for Korean traditional instruments while studying at the University of Hawaii. The accessibility of the performers in conjunction with their abundance allows composers to explore these new sound worlds without too much intimidation. The title itself comes from a elevator conversation with a pansori singer. I was playfully bemoaning the lack of practice time in the one practice room in our building due to the large influx of musicians. She was quick to note that pansori singers don’t practice in practice rooms, but rather scream at waterfalls, to which she asked, “can you find me a waterfall?”

HANGING KANSHO IN THE SKY
SHAKUHACHI AND PERCUSSION (2014) 8'30"

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This recording by Will Watson and Aʻo Taiko is featured on the album"East and West" and is available for purchase for $1.50 in high-quality digital download.  The album is available as a high-quality digital download for $7, and a cassette release by Reel Taped for $8.

PROGRAM

The title of this work comes from a lecture by Mas Kodani-sensei of Kinarra Taiko. It embraces the concept that the very intention of achieving enlightenment is to consistently attempt the impossible. To forget that hanging a giant brass bell in the sky is impossible is analogous with the exercise of meditation and releasing the ego. With my first piece for shakuhachi, I wanted to create an aural experience that was ethereal and ambient, but at the same time very present. I purposefully wrote this with my performer’s compositional aesthetics in mind, with a detachment from the need for extensive melodic content and an emphasis placed on the timbre of the instrument. Accompanied by temple bowls placed throughout the hall, I hope to create a listening experience that is new and interesting for the audience.

 

MEANDERING BY MYSELF
SOLO CLARINET (2014) 1'00"

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PROGRAM

I like the drive between Waimea and the shrimp trucks on the North Shore. To the right you see tall green mountains and to your left you see the ocean. The sounds of cars, waves and island music radio are all that accompany you. 

Winner of the Composer's Voice Composition Competition 2014 - Diego Vasquez & Andrea Skurr.

PERFORMANCE NOTES

Performer(s) should meander from stage left to stage right with little intention, ending front right in no particular direction. The rest of the choreographic decisions are left to the choreographer.

TONGUE TWISTERS
VOICE AND PIANO (2010) 2'30"

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PROGRAM

My father is an excellent storyteller.  When I was a kid I looked forward to the few times he would read me a book.  He was especially good at Dr. Seuss rhymes.  He had a knack for tongue twisters I simply didn’t have.  I began practicing tongue twisters in college when I had trouble doing oral presentations, and found it was easier to say them in a sing-songy way.  This experience served as an inspiration for the first two movements of this cycle.  The third movement came out of a collision of ideas.  First, this piece was assigned to be performed on Cinco de Mayo, hence the Mexican hat dance.

Secondly, I had just watched, from beginning to end, the entire Animaniacs series which brought about the piano writing style of the late Richard Stone.  And thirdly, I had found pleasure in piano comedy, which kept humor as a core theme of the song.

LYRICS

I. Peter Piper

Peter Piper pecked a pick of pickled peppers
A peck of pickled peppers Peter Piper picked.
If Peter Piper picked a peck of pickled peppers,
Where’s the pickled peppers Peter Piper picked? 

- John Harris, Peter Piper’s Practical Principals of Plain and Perfect 

Pronunciation

II. An Easy Game

If a packet hits a pocket on a socket on a port,
And the bus is interrupted as a very last resort,
And the address of your memory makes your floppy disk abort,
Then the socket in the pocket has an error to report!
If your cursor finds a menu item followed by a dash,
And the double clicking item puts your Windows in the trash,
And your data is corrupted because your index’s in the hash,
Then your situation’s hopeless and your system’s gonna crash

- Gene Ziegle

III. Copyright

When you write the right copy go forth and go copy and copyright copies you write.
But just ‘cause you copy the right copyright doesn’t mean that your copies are right!
When you write the right copy go forth and go copy and copyright copies you write.
But just ‘cause you copy the right copyright doesn’t mean that your copies are right!
Now the men of religion must make hard decisions but never about copyright
‘Cause men of religion must simply write rite, and never are worried about copyright.
Now the men of religion must make hard decisions but never about copyright
‘Cause men of religion must simply write rite, and never are worried about copyright.
If Rev. Wright decides to write (thank God that he doesn’t write) then Wright must write the right rite
And in turn he can copyright all the right rites; Rev. Wright wrote the right rites alright.
If Rev. Wright decides to write (thank God that he doesn’t write) then Wright must write the right rite
And in turn he can copyright all the right rites; Rev. Wright wrote the right rites alright.

- Shelly Herman

You’d think that these lyrics and memorable tune would be of restrict copyright
But parody’s funny ‘cause no one claims money in the case of these parody rights
So I leave with a thought, with a pontification, that will simply have you at wit’s end
When assigned composition forget constitution,
Just think of good times and think of light rhymes that sometimes insult but only sometimes
Just don’t commit copyright crimes!

-Thomas Goedecke

MEMORIES OF A TRENCH
SOLO FLUTE (2009) 5'00"

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This recording by Deborah Gold is featured on the album "East and West" and is available for purchase for $1.50 in high-quality digital download.  The album is available as a high-quality digital download for $7, and a cassette release by Reel Taped for $8.

PROGRAM

For a long while I was caught up in the idea of writing a piece based on the effects of post-traumatic stress disorder (PTSD). I had researched it extensively and found that the effects of the flute can effectively create a sound world that shows the madness of shell shock. The breathlessness of running from something that really isn’t there, but your mind swears it is. The long pauses between thoughts filled with a true void, a void more frightening then anything you have ever experienced.