Begun in 1993, Pathways is a series of works for solo instrument and chamber orchestra consisting of a single, fixed accompaniment that provides a continuously transforming sonic landscape through which each soloist traverses its unique way. The conceptual metaphor for Pathways is that of a traveler (soloist) and their individual relationship with the surrounding environment on a given journey. The four concerti in this series composed to date— featuring trombone, percussion, soprano saxophone, and piano—explore these various relationships in contrasting ways. Superimposed onto this metaphorical conceptual framework is a distinct narrative element that informs the individual soloist/ensemble relationship in each work.

The second in the series, Revolution is a response to the Los Angeles riots of 1992, as reflected in the confrontational character of the solo percussion part: here the soloist acts as aggressor, responding to the ensemble with tension and fury throughout the four-movement work. In Fairfax, 5:38 am. Tuesday., the soloist begins unobtrusively, gradually emerging to wage an all-out assault upon the ensemble; the movement closes with a series of explosive attacks from the soloist as the ensemble accompaniment eventually breaks down. Cahuenga, 11:57 pm. Friday. opens with a confrontation between the ensemble percussionists and the soloist, the latter inevitably overtaking only to contend with the brass. Following this opening onslaught, the percussion becomes uncharacteristically passive, acting in concord with the ensemble for the remainder of the movement. Sepulveda, 3:14 pm. Sunday. begins quietly, gradually building in intensity throughout; here the soloist reacts to the ensemble, culminating in an aggressive exchange between the soloist and the bass drum. In Lankershim, 10:24 am. Wednesday., a violent flourish in the solo percussion gives way to a placid yet brief introduction in the ensemble. The remainder of the movement engages the entire ensemble in contention with the furious moto perpetuo of the solo percussion. Even as the forces relent at the conclusion of the work, there remains an atmosphere of unrest and discontent.

Pathways II: Revolution was first performed on 18 March 2014 at the University of North Texas by percussionist Christopher Deane and the Nova Ensemble, directed by the composer.