One of the greatest joys that composition has brought me is the ability to transform moments of beauty from everyday life into new mediums. In May of 2025, a dear friend of mine took a trip to Canada’s East Coast and spent some time in the beautiful province of Prince Edward Island (PEI). Known for its striking red sand and fantastic oysters, this magical place is the setting for Canadian author L.M. Montgomery’s beloved series “Anne of Green Gables”. One rainy, grey afternoon, my friend found herself on the island’s Northern shore and stumbled upon a red rock beach in North Rustico. After showing me photos of extraordinary red coasts clashing with the majestic waves of the Atlantic Ocean, I, much like Montgomery, was captivated by its beauty. I’ve always been fascinated by water, specifically by the turbulent contrasts that occur in waves and tidal motions. PEI is home to some of the most extreme tides in the world, due to its proximity to the Bay of Fundy. I decided to capture this phenomenon musically and, in turn, Red Rock Rhapsody was born.

Opening with the quaint serenity of low tide, Red Rock Rhapsody begins with calm melodic figures that symbolize still waters, with hints of percussion that represent waves crashing along the seashore. As the band grows in texture and dynamic, it illustrates the moment the tides begin to rise, slowly, almost secretly at first. At measure 61, the music transforms into a Celtic-inspired motif, paying homage to the Irish fishermen who immigrated to the region and historically used these waters as a source of sustenance for their communities. Suddenly, the piece's overall feel abruptly changes, and the intense mood is sustained by dense textures and a percussive rhythm, signalling the arrival of a famous East Coast storm that throws the tides into absolute chaos. Hidden within this is a recall of the Celtic motif heard earlier, symbolizing the strength and resilience of fishing communities. High tide finally arrives at measure 110 and is marked by a jarring crash. As the piece develops, the music takes on a “sea shanty style” marked once again by the triple meter feel in the percussion section. The winds take on a heroic, nautical theme and transport listeners to finishing boats sailing the seas. As we arrive at measure 166, the percussion becomes our primary focus, followed by a rip-roaring alto saxophone solo, paralleling the unique and natural beauty of the East Coast. As we approach the final measures, we are once again greeted with calm, tranquil motifs as the tides lower once more, reminding us of the power and beauty water possesses.