Electronic and Electoacoustic

Rain Bell for soprano, viola, and electronics – 2017

Rain Bell takes its inspiration and text from a haiku by the 18th century poet Kobayashi Issa. My favorite haiku tend to
capture and preserve a single moment in time, and extend that moment through contemplation. It’s very difficult to read
these kinds of haiku without stopping to think about what they capture. The haiku that inspired Rain Bell is no exception.
The text essentially talks about the clanging of a temple bell in the mountains which, as it decays, is soon swallowed up in
the sound of a spring rain. This concept is a distinctly musical one, and echoes the concept of inharmonicity, or the Read More…

Alpha for flute, guitar and electronics – 2017

Humans are social animals. Our need for one another is present in every element of our lives. Moreover,
we tend to sort ourselves into hierarchies much like other social animals do, with one person having more
or less control over the attitude and actions of another. Alpha is an experiment in how this kind of power
dynamic can be magnified and explored through music. Read More…

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Fiducial Epoch for bass drum and electronics – 2017

Fiducial Epoch is about time, and the complex, often arbitrary way that we tend to think of, measure,
and experience it. The term “fiducial epoch” simply means a mutually decided upon point of reference.
In western culture, for example, the birth of Christ is often considered to be the fiducial epoch for
measuring the passage of years. This date is generally known to be incorrect or inaccurate, yet it
remains, simply because our measurement of time is largely arbitrary. Read More…

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Songs of Ashes and BonesSongs of Ashes and Bones for baritone and live electronics – 2014

Our culture has a complicated emotional and conceptual relationship with bones. They are relics of lost heroes, remains of loved ones, and symbols of fear, death, and the unknown. This work presents three contrasting perspectives of this relationship in three movements. Each movement uses different processes of electronically manipulating the voice of the baritone and the prerecorded sound of a lamb’s bones being butchered with a hacksaw. Read More…

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nautiluslogo-2The Uncurling Nautilus for cello and live electronics – 2014

Many notable composers have had a fascination with the Fibonacci sequence. This is a series of numbers where the next number is reached through the addition of the previous two. The order of these numbers is 0, 1, 1, 2, 3, 5, 8, 13, 21 and so on. Another important element of this sequence of numbers is the ratio between each consecutive number after the third. This ratio is about 62% and has for many years been known as the golden ratio. This ratio also describes the spiral curling of the shell of a nautilus, a sea-dwelling cephalopod related to, but far more ancient than, the squid and the octopus. Read More…

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Triple Phase for mezzo-soprano and live electronics – 2014


Four Untitled Etudes for fixed media – 2009

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Gritted Teeth for flute and fixed media – 2008

Originally composed for a flute player who was recovering from a wrist injury, Gritted Teeth is a work for solo flute accompanied by audio recording. In the tradition of Mario Davidovsky’s synchronisms, the material in the recording is entirely derived from pre-recorded flute sounds which have been electronically manipulated. The piece is built around a textural idea of moving from a simple texture towards a more complex and intense texture by building layers of sound on top of each other.



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