The program notes below may be used verbatim for publications associated with performances of the works at no cost.  Educational use is allowed with proper citation.  Any other reproduction for profit is forbidden without consent from the author.

A Trip to Mount Vernon (2010) for piano

A Trip to Mount Vernon is written in a pandiatonic style after the techniques of Aaron Copland.  Initial work on the piece began as an assignment in a Copland Analysis class, taught by Dr. Glenn Smith.  The present version of the piece was expanded from the original stylistic etude to explore more possibilities on the instrument for which it was written.

A Year for Love (2010) for violin and piano

A Year for Love was written for and is dedicated to Holly Ann Taylor, the composer’s wife.  Karen W. Randall, a long time friend of the family, played the piano for the premiere.  The violin being used on the premiere was an early 20^th century Hill violin that belonged to the composer’s grandmother, Dorothea Mikelson.  The three women represented in the performance are highly respected by the composer for their strength, love, and inspiration.

American Poet Suite (2009) for string orchestra

American Poet Suite is a collection of four movements, each relating in various ways to a poem from a famous American poet.  “Lady Lazarus” is a poem written by Sylvia Plath (1932-63).  Plath had the artistic ability to create beautifully moving works from the tragedies in her life.  The theme of resurrection from tragedy is prevalent in her poem, “Lady Lazarus.”  In the music, themes of descent and resurrection are expressed through descending and ascending three-note motives.

“The Negro Speaks of Rivers” is a poem written by James Mercer Langston Hughes (1902-67).  An innovator of jazz poetry, Hughes included this poem in his first book of poetry, The Weary Blues.  In the second movement of this piece, elements of blues find their way into the music through the use of chords and a walking bass.

Emily Elizabeth Dickinson (1830-86) was eccentric in many ways and not recognized as a great American poet until long after her death.  Along with her personality, the meter and rhyme schemes she employed did not fit the popular norm of her time.  The third movement of this piece features “How Happy is the Little Stone.”  The carefree nature of the piece fits that of the stone in the poem, which carries on without judgment “in casual simplicity.”

Edgar Allan Poe (1809-49) was a writer known for his dark works.  “The Raven,” one of his most successful poems, is one such work.  The poet used several techniques to keep the intrigue and attention of the reader.  Narrative, along with imagery, adds to the haunting quality of the work (i.e. “While I nodded, nearly napping, suddenly there came a tapping”).  The use of trochaic octameter (a line consisting of eight metrical feet) lends to the flow of the long, poetic lines.  The feeling of trochaic octameter can be heard in the opening bars of this last movement.  Sound effects in the piece are used like imagery in the poem.

An Angel on Earth (2015) for string orchestra and piano

Aria for String Orchestra (2020) for string orchestra with optional piano and novice violin and viola parts

Character Motives (2012) for wind quintet

Character Motives provides a contrast to the body of sound created by the fluid mix of woodwind quintet timbres in The Color of Peace.  The two pieces may be performed independently or as a set, provided The Color of Peace is played first.

A musical cryptogram is when letters taken from a composer’s name, in whole or part, are represented by pitches.  Five musical cryptograms may be heard in Character Motives.  Each is the basis for an abstract caricature depicting aspects of each represented composer’s style.  Only pitches derived from the cryptograms are used in the given sections, though overlaps occur during transitions.  Some are more obvious to hear than others. . .

Notable influences on the composer for this piece include 8 Etudes and a Fantasy by Elliott Carter, Aphorisms by Dmitri Shostakovich, and available audio, score releases, and advertisements of works by Michael van der Aa.

Daydream (2012) for string orchestra (also available with harp)  Purchase Listen

Daydream is an Impressionistic sounding piece for string orchestra with optional harp.  Daydreams allow us a departure from the day to day with a moment in time where our thoughts are free to wonder uninhibited.  Once thought of as a lazy pause, daydreams are now thought to be a potential time for great creativity (be it artistic, scientific, mathematical, or other).

Fanfare for the Dreamkeeper (2010) for beginning string orchestra and basic percussion

Fanfares have traditionally been written for trumpets and other brass instruments (many times with percussion) for leaders, special occasions, or celebratory subjects.  Fanfares have been used for the entrance of kings, for “the common man”, and more recently in video games to mark the accomplishment of a major task by the gamer.  Fanfare for the Dreamkeeper is a piece that allows the developing string player to experience the excitement of performing a fanfare.  The title is based on the idea that a leader should be the dreamkeeper of the people.

Giant Suite (2009) for beginning orchestra (published by Ludwig Masters Publications)  Purchase Listen

Guardians of the Realm (2016) for string orchestra and optional percussion

Guardians of the Realm is a lionhearted work reminiscent of times long ago. Contrasts in styles and modalities make explorations of both right and left hand technique engaging and relevant. Divisi strings parts challenge performers comfortable with shifting, while providing a more accessible role for those solidifying fundamentals. With fierce themes and aspirations of valor, orchestras will enliven in audiences and awaken in themselves, the Guardians of the Realm.

Homage (2012) for bass trombone and piano

Homage was written as a memorial to Stravinsky as we celebrate the centennials of his three early ballets.  The work is dedicated to and written for Drew Comparin and Emily Grimm for their support of new music.  It was composed as part of a twelve hour challenge, where composers were given two or three randomly selected instruments to write for on a Russian theme as part of “Composer’s Week 2012” at George Mason University in Fairfax, VA.  Mr. Taylor is grateful for the musicians who breathe life into his music and those engaged in listening.

In Dreams of Awakening (2009) for wind symphony

In Dreams of Awakening is derived entirely from the basic melodic materials heard in the main theme.  Though there is no separation between them, the piece is divided into five segments.  “Elements of a Dream” opens the piece with fragments of the melody and effects such as pitch bends, multiphonics, and unmeasured accelerando.  The main melody is fully realized at the “Proclamation of Ideals” segment.  “Meditation on a Course” is marked by wavering pitches performed by most of the ensemble.  A slow fugato section on the retrograde inversion of pitches from the melody is initiated by soloists before descending through the brass and into the percussion.  The voice of a solo oboe restates the melody in an augmented form before the next segment.  “Awakening” is woven together with ostinato.  The segment is a play on the second part of the main melody.  The final segment is the “Call to Action,” where the focus is returning to the main melody presented by the entire ensemble.

The words dreams and awakening have many meanings and connotations.  The composer chose the given title in hopes of initiating creative connections by the listeners and performers as part of an individual process they may be willing to bring to life by sharing.  The composer would be delighted to hear your experiences with this piece.

Lunar Chase (2010) for developing wind symphony

Lunar Chase was written for the Lanier Middle School Wind Ensemble (Fairfax, VA) under the direction of Bryan Miles for the November 2010 Virginia Music Educators Conference in Norfolk, VA.  The rhythms, techniques, and form are based on elements from five scores the director selected that best represented his ensemble.  Mr. Miles and his students went to great lengths to put on an outstanding performance, including summer and weekend rehearsals, weekly sectionals, and master classes.  Many of the performers featured on this recital, including Mr. Miles, work with these students on a regular basis or with other students to pass on their passion for music.

Midnight Waltz of the Frog Prince (2005) for string orchestra and optional piano

Mission to Mars (2019) for string orchestra

Prayer (2011) for baritone, crystal bowl and piano

The text for Prayer is taken from the prayer commonly known as “The Prayer of St. Francais of Assisi.”  The complete text for the prayer may be divided into two sections.  The first section is used in the present version of Prayer.  The composer has plans to write a contrasting movement for the second section.

Non-traditional notation were used to write Prayer in order to more accurately represent the composer’s thoughts of musical effect.  The piece is composed without barlines, with slanted beams to represent slight accelerations and decelerations, and with eight and sixteenth notes for piano beamed in terms of note groupings rather than by beat.  These specifications were made with the aim of liberating the performers, rather than restricting them.  As such, the score may be treated as a set of guidelines for a convicning artistic performance of the piece.

Premier Symphony (2011) for beginning orchestra (published by Ludwig Masters Publications)  Purchase Listen

Rise of the Phoenix (2014) for developing string orchestra

The phoenix is a mythical bird that rises to life from ashes. Colorful and majestic, the phoenix lets out cries that are said to sound like music. After a lifetime that spans centuries, death comes to the bird by fire. According to Greek mythology, death for the phoenix is only temporary as a new phoenix rises from those ashes to fly and sing once more.

The rebirth of the phoenix has captivated and inspired humanity for thousands of years. Legends of the bird are found in different forms with various names across cultures. In music, The Firebird by Igor Stravinsky was inspired by the Russian tale of such a bird. It is considered one of the greatest works of the 20^th century and is still performed as a ballet and as an orchestral suite over one hundred years later.

Rise of the Phoenix contains melodic fragments that assemble into full melody. This material is then cycled throughout the piece and across the orchestra. While form and driving rhythms embody the “rise of the phoenix” in myth, introductory level octatonic leanings and mixed meter provide a nod to the 20^th century masterwork by Stravinsky.

Shiftin’ Around Blues (2005) an introduction to shifting for string orchestras  Purchase Listen

Shiftin’ Around Blues is a fun, methodical way to introduce shifting into third position on the D and A strings to violin, viola, cello, and bass players. It may be used by an entire string orchestra or for private instruction. Shifting is an exciting step for advancing string students. Shiftin’ Around Blues captures that excitement while focusing on good framework, relaxed technique, and aural skills.

Checklists are provided to serve as daily good form reminders for the student and may be used by the teacher as weekly assessments. While play-along recordings are available, a “follow the leader” approach may also be used to showcase more advanced students or allow for greater teacher modeled instruction. Once students feel comfortable playing through level three, students will be ready and eager to expand their “technique toolbox” with additional methods.

Play-along tracks are available for teachers and students through Amazon, CD Baby, Google, and iTunes.

Soaring with the Dragons (2022) for string orchestra and optional piano

Symphonic Overture (2012) for full orchestra

The Color of Peace (2011) for wind quintet

The dance in silence becomes an expression of worth at its most natural.  A quiet act with understanding enlivens comedy of our tragedies and we find words purified in further abstraction.  Art resonates through our hands the trials of life as the listener becomes the creator of his own musical experience.  And in our finer moments we find in ourselves, the color of peace ready to sound with the world.

The Grandfather Clock (2011) for string orchestra

The Grandfather Clock was written for the Friends & Family Chamber Orchestra (FFCO), directed by F. Wayne Taylor.  It was premiered at St. Mark’s Lutheran Church in Springfield, VA on June 5, 2011, Wayne and Ginny Taylor’s 35th wedding anniversary, at a concert honoring Pastor Duayne Carlson, who married them.

Styles from other pieces the orchestra regularly programs can be found within the three movement work.  “From Westminster” is a nod to some of the English leanings in the orchestra’s repertoire.  It is composed of scales and chords extracted and transposed from the melody Westminster Quarters, made famous by Big Ben at the Palace of Westminster.  The second movement, “Reflections in a Face,” contains audible reflections heard melodically as well as across the orchestra.  The movement is at the same time static and fluid as “reflections” are perceived from different angles.  “The Dance of Hands” is just that, concluding the piece in a playful hoedown style.

To Pieces (2012) for viola and cello

To Pieces is a set of variations.  The variations are intervallic, rhythmic, and timbral explorations of motives taken from the theme, rather than rhythmic and modal variations on the entire theme.  While the complete theme is varied, it is done so in fragments.

Like the work, the title may be considered abstract in its simplicity.  One may fall to pieces or love someone to pieces.  When shattered to pieces, an object may invoke pain or refract light in a beautiful array of crystalline patterns.  In the search for understanding abstractions, the meanings we find reveal depths of ourselves and gems of humanity.

To September 11, 2001 (2001) for clarinet, violin, cello and string bass

To September 11, 2001 for B-flat clarinet, violin, cello, and string bass was composed within three months of the tragic event.  The attacks which claimed the lives of so many innocent people also attempted to expose the weakness of a nation.  Instead, in an overwhelming display of humanity, a nation was unified and rose up in support to show that the many lives were not lost in vein.  The strength of a nation prevailed through that humanity and instead exposed the weakness of the forces behind the cause of the tragedy.  The message sent was clear.  In the closing bars of the piece, all instruments join in unison to quote from a Lutheran Agnus Dei, the line, “Grant us peace.”

To September 11, 2001 is dedicated to those who fell, the nation that rose, the members of the ensemble for whom the piece was written for (Rebecca Friedman, Michelle Haines, Tommy Daigle, and Nicholas Butcher), and Dr. Glenn Smith for the insight and guidance he provided, without which the piece could never have been written.

Ulysses’ Quest (2008) for developing string orchestra

Ulysses’ Quest uses a bold theme to take performers and audience members alike on an exciting musical journey.  After stating the theme in the opening bars, performers expand their range to explore the motive’s possibilities.  A descent into the mysterious middle section stretches ears and finger patterns before control is tested in the slower section.  Finally the piece comes home as the return of the theme is presented in one final round.

Ulysses’ Quest by Mark A. Taylor captures the heroic determination of a literary character with deep roots.  Ulysses (Greek: Odysseus) has been a staple in literature dating back over 2,000 years.  His quests have been recorded in Homer’s Iliad and Odyssey, Dante’s Divine Comedy, Tennyson’s poem Ulysses, and Joyce’s novel Ulysses (among others).

Upward! (2023) for string orchestra and optional piano