1. Moderato
2. Scherzo
3. Freely

In August of 2005, I accepted the appointment of assistant carillonneur and librarian at the Historic Bok Sanctuary in Lake Wales, Florida. The Sonata for Carillon was written in the months immediately following this appointment. The large Taylor carillon situated in the exquisite garden in south central Florida was the primary inspiration for this sonata. A setting such as this gives a composer and a performer the opportunity to grow. Here, one's artistry is nurtured, and a sense of duty encourages one to utilize this environment for the advancement of the carillon art.

One cannot recognize this unique location without mentioning Milford Myhre, who for 36 years preserved the artistic integrity of this institution. Dr. Myhre established a long tradition of recitals which have inspired countless visitors. As a mentor he is always helpful with valuable advice, and I am honored to experience his immeasurable wisdom. Additionally, I am abundantly grateful to William De Turk who, as my supervisor, has given me ample room to spread my wings. Bill is a supreme musician and administrator; his constant support and encouragement have been helpful to me as I have made the transition from student to performer. With deepest gratitude I dedicate this sonata to him.

Although not a sonata which adheres to the strict tonic/dominant opposition which was set forth by Mozart and Beethoven, this sonata explores some of the harmonic properties offered by the carillon. It is a multi-movement composition through which thematic threads are woven. These motives recur in various forms as gestures which preserve the direction of the original theme though not necessarily the exact notes and intervals. For example, the figure in the introduction of the first movement recurs in retrograde inversion as the secondary theme in the last movement. Fragments of the introductory theme occur within the first movement. Each movement exhibits an interior section which serves to develop ideas exposed at the onset of each movement, and opening ideas are recapitulated at the end. The second movement, a scherzo, explores a sonority constructed from alternating minor and major thirds—the minor triad with an added minor seventh and a major ninth. Throughout each movement a tonality is established, distant tonal centers are explored and an eventual return to the original tonality is achieved. These structural aspects are secondary to my compositional process. The thematic evolution and tonal design is an attempt to construct a large scale composition for the carillon. However, my compositional style has two permeating aspects.

Having studied counterpoint in school, I am no stranger to the process of manipulating musical material. However, the seeds of this music are sown through improvisation. Themes and harmonic language are first established by drawing out of the keyboard, sounds which I have a desire to hear. As I have matured as a composer, I tend to rely more on the emotional aspects of my writing. When I go to the computer to work out the details of a composition I seek to preserve the original aesthetic as it was first revealed in the improvisation. I began with an awareness of the capabilities presented by the carillon—a desire to create long sweeping phrases which allow the instrument to breathe. Melodies often are set below the accompaniment, however, the carillon, like other keyboard instruments, can express more than one melody simultaneously, therefore I attempted to give accompanimental figures melodic interest. Those who have influenced my compositional style are Ronald Barnes, Émilien Allard, John Courter, Maurice Duruflé, and Gabriel Fauré.

—Lee Cobb