A Road Beyond was written to honor the memory of a very close friend who enjoyed the music of Frank Sinatra. The trumpet part is a collection of melodic fragments of Sinatra tunes composed using serial techniques to take the listener beyond the obvious. This work, a collaborative effort between the composer and trumpet virtuoso, Ronald Romm, depicts some of the experiences in moving beyond, and was created and realized within the University of Illinois Experimental Music Studios.

[A Road Beyond is published by Media Press, Inc. Accompaniment tracks and score are available at mediapressmusic.com]

Recorded on Music from SEAMUS volume 17. SEAMUS Records EAM-2008. includes Scott A. Wyatt: A Road Beyond

Today, we are faced with circumstances that remind us of our mortality and the brevity of our existence. The horrific act that occurred in Oklahoma City on April 19, 1995 was one of too many acts against humankind, an act against ourselves. In this period when violence and self-interest are expanding so significantly, it is time for each individual to re-evaluate his or her role in life and within our society. A Time of Being is dedicated to the memory of those who perished on that day in Oklahoma.

Recorded on Music from SEAMUS volume 7. SEAMUS Records EAM-9701. includes Scott A. Wyatt: A Time of Being

All for One was composed for a unique performance arrangement of percussion instruments and loudspeakers within the performance area creating a large sound sculpture. Specific compositional considerations include an intentional continuum of timbre, thus providing for an integration of tape and live sounds, and the tape sounds emanate from different loudspeaker locations within the performance area. These two aspects help realize the deliberate intent of the composer to reduce the usual dichotomy which often exists between electronics and live sounds. The placement of the loudspeakers within the performance area allows them to develop as separate instruments, as well as ensemble members within the piece. In other words, this piece is an ensemble for one performer and electronics, not one in which the performer is isolated on stage with the loudspeakers being separate entities on each side of the stage. All for One was written for and dedicated to percussionist Tom Siwe, and was awarded the 1984 CIME grand prize at the 12th International Electroacoustic Music Competition in Bourges, France.

Recorded on IMEB (Groupe International Musique Electroacoustique de Bourges) Electronic Culture Recording Series volume 15. IMEB LCD-278074/75. includes Scott A. Wyatt: All for One. Tom Siwe, percussion.

Counterpoints was commissioned by saxophonist and University of Illinois Professor, Debra Richtmeyer, who requested the work be a virtuosic pitch-oriented composition involving pitch-based electronic accompaniment. Much of the sonic design is a reflection of that time period since the accompaniment was created shortly after the development of MIDI, yet many performers feel the work remains a relevant and valuable virtuosic composition for saxophonists and art music audiences alike. Counterpoints incorporates multiple linear voices moving and interrelating in predetermined manners. The role of the soprano saxophone performance alternates between that of a dominant and supportive voice, and does not maintain a purely soloistic function until the last third of the work.

[Counterpoints is published by Media Press, Inc. Accompaniment tracks and score are available at mediapressmusic.com]

Recorded on Light of Sothis by Debra Richtmeyer. Mark Records MCD-1806. includes Scott A. Wyatt: Counterpoints. Debra Richtmeyer, soprano saxophone

Four For Flute consists of four movements, each successive movement developing from the previous. The  entire work may be performed or individual movements of the work may be performed separately. While serial techniques were used to determine the pitch and rhythmic aspects of the piece, directional and timbral aspects were composed intuitively. In fact, timbre is an important dimension of this composition. The electroacoustic accompaniment contains electronically generated sounds, and an attempt was made to provide a continuum of timbre from purely electronic to the acoustical flute, so that in many cases the source of the sound may be ambiguous to the listener. Four For Flute was the winner of the 1979 National Flute Association Award.

Four for Flute is published by Media Press, Inc. Accompaniment tracks and score are available at mediapressmusic.com

Recorded on Collections Il Chamber Music with electronics. VERIATZ Records V-892. includes Scott A. Wyatt: Four For Flute.

Within Time Mark (commissioned by percussionist Kathleen Kastner), are specific considerations including a continuum of timbre - thus providing for an integration of electroacoustic and live sounds without the loss of individuality, and spatial disposition - wherein the location from which sounds emanate within the host performance space is also a parameter for composition. Originally realized in 1983 with concrete and modular voltage-controlled synthesis techniques (including much analog tape editing), the electroacoustic portion of the composition was reworked to reduce the inherent analog tape hiss and was then digitally re-recorded in 2000.

Time Mark is published by Media Press, Inc. Accompaniment tracks and score are available at mediapressmusic.com

Recorded on Music from SEAMUS volume 2. SEAMUS Records EAM-9401. includes Scott A. Wyatt: Time Mark. Glenn Schaft, percussion.

Two Plus Two uses as its technical springboard similarities and contrasts between electroacoustic sounds and live sounds; but it would be naive to confuse this technical device with the content or significance of this music as to assign to the piece prescriptively a specific Straaussian or Rzewkian program. To quote composer Barney Childs, "Personal realization of the symbolic penumbra of a work of art ... can be developed from the  dramatic and theoretic structure of the piece, working together in a variety of ways: metaphysical, psychoacoustical, even socio-political." The somber dramatic impact of the piece speaks for itself: in its recurrent crescendi and diminuendi, accelerandi and ritardandi, its sharp contrasts against a background of homogeneity. The dialogue between live and recorded sound must be kept in mind in seeking one's idiosyncratic perception of the meaning in this work. — Ben Johnston (1976)

Two Plus Two is published by Media Press, Inc. Accompaniment tracks and score are available at mediapressmusic.com

Recorded on Collections I. UBRES Records CS-303. includes Scott A. Wyatt: Two plus Two. Tom Siwe and Don Baker, percussion.