Keith Reeves performed as coprincipal trumpet of the Syracuse Symphony Youth Orchestra under the batons of Charles Peltz, Kazuyoshi Akiyama, and Michael Colgrass. He performed as coprincipal trumpet and principal second trumpet of the New York State Summer School of the Arts Wind Ensemble and Orchestra, respectively, under the batons of Conrad Kuchay and Russell Stanger.
Reeves studied trumpet with John Raschella, David Bilger at NYSSSA, and D. Kim Dunnick at the Ithaca College School of Music, where Reeves majored in music education. At Ithaca, he studied composition with Dana Wilson and music theory with Mary I. Arlin, and was a member of the Ithaca College Wind Ensemble under the baton of Stephen Petersen.
As a vocalist, Reeves performed as lead tenor with the Jazz Elites at the 25th anniversary gala MusicFest Canada in 1997 and alongside the New York Voices that year, chiefly comprised of fellow Ithacans. On stage and in revue, Reeves has played the roles of Freddy Eynsford-Hill in My Fair Lady (his musical theatre debut), Emile De Becque in South Pacific, Lancelot du Lac in Camelot, Inspector Javert in Les Miserables, and Sweeney Todd in Sweeney Todd. He later musically directed The Wizard of Oz and Camelot.
Reeves was a soloist tenor and baritone in the Ithaca Vocal Jazz and Ithacappella, with whom he toured in 1998. He was later a baritone soloist with the Syracuse Vocal Ensemble under the baton of Robert Cowles.
Sonata for Trumpet
Solo Trumpet and Piano, 2013
“Suspiration No. 2 (“Volant”)
Solo Oboe and Piano, 2013
Marching Band, 2011
This is an original through-composed suite for Marching Band, composed for Thomas A. Edison High School in Alexandria, Virginia. It represents various aspects of breaking:
(I couldn’t help but throw in a last little “break” even amid the Finale at 6:41 or so for my own amusement.) The Edison team once again included Mr. Steve Ballard as our pit arranger and Mr. Nathan Tyler as our battery arranger. This was one of the most sophisticated shows Edison had undertaken to date, and it was a privilege to work with these progressive artists once again.
“Sprite on the Seven”
Concert Band, 2010
What began as a sparse, pointillist study at some point gained a swing, and a persona: An invisible sylph playing around on an old New York subway.
Concert Band, 2009
Pronounced “OWN-sah,” the Portuguese word Onça literally means “Jaguar,” but can also mean “ounce” (the unit of measurement), a play on words regarding the small length of the work. It is found in the scientific name of the Jaguar, Panthera onca.
“Without Music: A Story Of, By, and For the Arts”
Marching Band, 2010
This is an original through-composed suite for Marching Band, composed for Thomas A. Edison High School in Alexandria, Virginia. It is a narrated, theatrical show concept that “builds” a band from elementary musical components into a concert program, which is then dismantled by “The Man.” I was once again fortunate enough to be able to work with Mr. Steve Ballard as our pit arranger, whose brilliant mallet writing is heard in this file. This is also my first full collaboration with Mr. Nathan Tyler, and I’m really impressed with his battery writing, also heard here.
Stafford County Fanfare
Concert Band, 2005
“Ouroboros: A Cycle of Light and Dark”
Marching Band, 2012
This is an original through-composed suite for Marching Band, composed for Thomas A. Edison High School in Alexandria, Virginia. It is a story of life, death, and rebirth, including:
The Edison team once again included Mr. Steve Ballard as our pit arranger and Mr. Nathan Tyler as our battery arranger.
Alto Saxophone and Snare Drum, 2001
Pronounced “CURL-churn-haw-TEH-shock,” the Hungarian word Kölcsönhatások literally means “interactions.” This was the culminating composition of my independent study with Dana Wilson, to whom I am tremendously indebted for his patience and guidance. The work was premiered by Mr. Erik Donough and Mr. Steve Ballard.
“Theme and Counterpoint No. 5″
Clarinet Trio, 2001
T&C5 was my response to an undergraduate assignment from legendary music theorist Dr. Mary I. Arlin. I undertook the challenge to compose a tonal piece of serial (12-tone row) music. (More accurately, a piece of serial music that yielded the appearance of tonality.) Receiving an A on this assignment was one of the most memorable and rewarding experiences of my time at the Ithaca College School of Music. (And yes, it took me five iterations before I was comfortable handing it in.)
“Suspiration No. 1 (“Chronometry”)
Solo Piano, 2012
Solo for Flute (“Evenstar”)
Solo Flute and Piano, 2003
Solo for Clarinet
Clarinet and Piano, 1999
Without doubt the most technically demanding piece I have ever composed – more than one person has dismissed it as “unplayable,” though several professional clarinetists have disagreed – what was originally titled Sonata for Clarinet never moved beyond a single movement. It was written during a tumultuous time of my life, and the intransigent almost imperious “pounding” certainly mirrors that attitude.
Solo for Violin
Solo Violin and Piano, 2000
Solo for Bass Trombone
Bass Trombone and Piano, 2000
Two of my arrangements for soprano…
…both performed by Ms. Lauren Synger, are available online at the links above.
“The Pennsylvania Polka”
Original composed by Lester Lee and Zeke Manners
Original composed by Sammy Nestico
Marching Band Show, “West,” 2006