My first solo piano performance was at the age of four, where I played on an Oklahoma City radio station. For three consecutive years –1955 through 1957 – I was winner of both State and National Federation Junior Composition Contests, and was selected to be a research subject in a nationwide project on Gifted Children in Music.  I was winner of the 1964 MTNA-OMTA Collegiate Piano Auditions, and performed as guest soloist with several local symphony orchestras.  In 1971 I received top award in the Oklahoma Composers’ Symposium.  In 1984 I submitted a set of Piano Variations for which I was named “American Composer of the Year” by the National Federation of Music Clubs (NFMC). That composition was performed at the National Convention, and at other NFMC locations, as well. 

 

While my formal training focused mainly on piano, I also studied violin from age eight, and played that instrument all through high school (where I modestly mention that I was first chair for several consecutive years in All-State).  In fact, the violin was my secondary instrument all the way through college (undergrad).  A third instrument was the pipe organ, which I began studying from the age of eleven.  Skills at the organ served me well: I was hired as a paid professional organist at several large churches while attending university, which helped defray educational expenses. Also, during that time I played piano in a jazz combo, and worked as a professional accompanist for performers whose genres might be not opera or the classics, but pop, rock, jazz, or folk. It is no exaggeration to say that my musical experiences have been wide-ranging.

 

To cite another example of musical diversity, it was while living in Wichita, Kansas that I worked at the Garvey Center of Synergistic Studies (part of the Garvey Center for the Improvement of Human Functioning) where I conducted research into the effects of music on reaching and exploring non-ordinary levels of human consciousness. It was during this truly extraordinary time that I began exploring my “second career” as an author.

 

The book-writing began in earnest around the New Millennium.  I published three books in short succession (2004, 2005, and 2006), each book setting out unique and revelatory information regarding musical harmonics (laws of vibration).  Two more books followed (2010, 2013).  As they became available from Amazon, Barnes and Noble, and many other sites, the word spread and I began to be asked to give talks at various venues about my musical discoveries. (Those interested in harmonics and laws of mathematics may want to check out my other website. Furthermore, I was fortunate enough to have Dr. James George write a small description for Aristoxenus's Ghost, as well as review Nearly All and Almost Everything. You can learn more about him here. 

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Today I am still engaged in writing, and currently working on a sixth (and seventh, and eighth!) book.

I would be the first to say that they are not intended for everyone.  In my books, many commonly accepted ideas are put into question, and the clues hinted at in ancient writings (e.g., Aristoxenus’ El Harmonica, Plato’s Timaeus, to name but two) are given serious consideration in order to come to truths hidden for over two millennia.  The approach, which connects the old so-called hermetic teachings with the newest scientific breakthroughs, makes it possible to bring to light an entirely new and different picture than what has long been handed down by the academic establishment as factual information.