Rambunctious at the start, Symphony No. 20’s opening movement is a mix a tonal techniques and dissonance supplied by utilization of atonal techniques.

The symphony begins with a gentle pastoral followed by a spritely duet between the woodwinds and the woodblock.

Symphony No. 18 was inspired by and uses techniques derived from ideas from Godel, Esher, Bach: An Eternal Golden Braid.

The chamber symphony is a short, three-movement symphony, after the early Classical Period design and it is for a smaller number of players than a typical, large, wind band.

Symphony No. 17 features metric modulations, dueling counterpoint, and a driving rhythmic language.

Beginning with a pastoral introduction, and continuing with vibrant and lively contrapuntal lines, Symphony No. 16 is a rollicking example of the symphonic genre.

This symphony is characterized by driving rhythms, exotic modes and bold brass lines.

Symphony No. 14 is an amalgamation of styles brought together to form a typical, classical symphony.

Symphony No. 13 is a rollicking entry, featuring motor rhythms as well as long lyrical passages.

This symphony stays true to the origins of the symphony, featuring music that would formerly be danced to.