String Quartet no. 2 pushes the limits of polytonality and extended harmonies. This three movement work would be comparable to the Bartok quartets, although quite different. Tonality is pushed to its limits through the use of 2 or more harmonies played simultaneously. This is a highly rhythmic string quartet based off the composer's percussion background. Duration: 14 minutes

A 3 movement work for timpani with piano accompaniment. The subject of the piece is the Resurrection. This work requires 5 timpani.

For my 64th work, I thought it would be fitting to compose something for the 50th Anniversary of Dr. Martin Luther King, Jr.'s I Have a Dream Speech. The number association also lines up with the year of assassination of King and Lincoln. There are highly virtuousic techniques used in this piece, while still having a lyrical quality. Lift Every Voice and Sing is used in a few unique ways as motivic development. Many have proclaimed it as the Black National Anthem, but that is not official. The work comes from a poem of the same title for the celebration of Lincoln's birthday. The original poem discusses how far God has brought us. Many feel that MLK's dream has been accomplished, while others feel his dream, is unfinished. 4 mallet marimba Level: Professional Duration: 23 minutes

The second symphony from Greg Jackson for orchestra. This is loosely a program symphony based on the book of Exodus. Standard instrumentation in 3 movements, with a duration of 33 minutes.

String Quartet no. 1 has strong roots in neo-Romanticism, while pushing the limits of polytonality and extended harmonies. This four movement work displays the expressive quality and aggressive side of the string instruments in the ensemble. The composition is in f minor and uses a harmonic progression of i-vii-V-i, which also extends to the tonal areas of the 4 movements. Although some traditional harmonic elements are used, tonality is pushed to its limits through the use of 2 or more harmonies played simultaneously. This is a highly rhythmic string quartet based off the composer's percussion background. Duration: 19 minutes

Requiem for 9/11 was composed for the 10th anniversary of September 11th, a day that will always be remembered in U.S. history. It is a peace dedicated to those who lost their lives that day, and in the years after the attack, protecting our country and freedom. This is my 45th composition so I decided to write something about that tragic day. Although the events are quite different, the United States suffered another colossal attack on American soil at Pearl Harbor in 1941. On that day, World War II began for America, although the war was in progress between other countries. In 1945, the war ended, and thus the number connection of Opus 45. Major events happened in 1945 and 2011; justice being served to two major enemies of the United States that were responsible for so many deaths. There are several times the numbers 9 and 11 are used. The time signatures are obviously in connection with the date of the attack, but there are also instances when the juxtaposition of dynamics and the number of 16th notes are indicative of the 9/11 motive. The piece begins in E minor, before settling in E-flat minor for the majority of the piece. This is done to mirror the cadence: Neapolitan 6, Dominant 7, Tonic 6. E minor acts as the enharmonic version of a N6 tonality, before moving to E-flat minor. The dies irae appears in the beginning and a few more times in the piece. Although this piece is a Requiem, I did not use other portions of the Mass. The inspiration to write a Requiem comes from Benjamin Britten, while infusing elements of my compositional technique reminiscent of the works from Sergei Rachmaninoff and Frederic Chopin. I chose to compose this piece for marimba because the instrument captures so many different emotions. The marimba can produce warm, lush sounds while exhibiting aggressive and violent attributes. The piece opens with the dies irae as an impending representation of tolling bells of death.I tried to combine the effects of an ominous tone and tranquility because no one except the terrorists realized the disaster that was to unfold. The chaotic section represents all that happened with the planes and also the battles that have taken place in the past decade. The solemn section is reflecting on the lives lost, which then builds to another climactic point in the piece. Although the piece was completed May 2nd, I started working on the piece weeks before. On May 1st, the world heard the news that the mastermind of the September 11th attacks had been found. Osama bin Laden was eliminated. The end of the piece represents the conflict that occurred that night, followed by a small portion of "My Country tis of Thee" as a way of giving hope to all Americans and others in the world who have been victims of terrorist acts. Requiem for 9/11 requires a 4.6 octave marimba, or low E, at the minimum. The performer should use discretion when choosing mallets for this piece; choose a mallet that provides enough articulation for fast passages and can handle roll passages. The sticking indications used for this piece are to serve as a guide for the performer, but the artist has freedom to alter the sticking patterns if necessary. I used the standard ordering of mallets that most composers use: "1" is for the outside mallet in the left hand, "2" is for the inside mallet in the left hand, "3" is for the inside mallet in the right hand, and "4" is for the outside mallet in the right hand.

The Ascension is a work for percussion ensemble to convey the Ascension of Christ. After He was crucified, Jesus was taken up to Heaven in his resurrection body in the presence of his Apostles forty days after he was resurrected. "But unto every one of us is given grace according to the measure of the gift of Christ. Wherefore he saith, When he ascended up on high, he led captivity captive and gave gifts unto men." Ephesians 4:7-8.

Mark of Cain is a chamber ensemble work for 2 multi-percussionists. The instrumentation consists of 4 congas and drumset. Based on the 4th Chapter of Genesis, this piece focuses on the mark placed on Cain after he killed Abel. Polyrhythmic figures merge between each performer requiring an enormous amount of dexterity to execute the passages. Level: Extremely Advanced Duration: ca 11 minutes

A four mallet marimba work written for a 4.6 octave marimba. Part of a collection of future releases.

A percussion sextet using common instruments to play a Japanese style piece. This is the follow-up piece to Hokkaido Jishin. The translation for "Yoshin" is "Aftershock."

This is the second volume of The Synergy Method for Drumming, and the 10th book from Dr. Greg Jackson. The collection of etudes found in this volume will help percussionists push themselves past their expectations. The etudes found in this method book are some of the most advanced pieces in the percussion literature. Level: Extremely Advanced to Professional

The first completely thorough compilation of rudiments in print with short exercises to help the percussionist learn to play each rudiment. Includes the Percussive Arts Society 40 rudiments, almost 900 Hybrid rudiments, and the Jackson 40.

Etudes Op. 48 is a book of modern solos ideal for the concert solo setting. The book is for beginners to advanced level percussionists. There are solos suited for beginners which can also serve as excellent sight-reading materials. Many of the snare drum books available now are outdated and the market does not have many new books. Etudes Op. 48 will be a great addition for the percussionists looking for a collection of solos composed with the 21st century musician in mind.

The Well-Tempered Marimbist is a set of compositions for the two mallet percussionist. The collection consists of 24 etudes, each in a different key, similar to the pivotal Well-Tempered Clavier by J.S. Bach. Most of the new music available is for 4-mallets, leaving those learning keyboard percussion without much of a selection for music that is current. This book contains music that fits many genres from traditional melodic development to music that would be classified as modern or 21st Century. WTM includes a wide range of solos for the beginning mallet player to the advanced level percussionist. The easier pieces are great for sight-reading practice as well. These solos are excellent pieces for recitals and solo performances as audiences will love the outstanding melodies. The percussionist will enjoy how well each piece lays on the instrument. This book is sure to become a classic for many generations and is an excellent source to have in the library of every percussionist.

Autumn in New York is an arrangement for percussion ensemble of the jazz standard. My first exposure to this piece came from a recording that Bud Powell did in 1953 of Vernon Duke's classic song. Although it is not possible to recreate the thick harmonic gestures in the same way as someone would on piano, the piece has a unique character with mallet percussion instruments. Score and Parts Included