solos
atoms (glockenspiel)
Commissioned by Justin Greene, atoms is for solo glockenspiel. The exclusive use of ping pong balls as mallets/sound generators explores a decidedly different side of the typically (very) loud instrument. atoms culminates in some particularly gnarly two-in-one-hand ping pong ball action. Approximately 7.5 minutes in duration.
chugging, churning (multi-percussion solo)
A commission by Evan Miller (with support from Stephen Monath, Andrew Seivert, and Thomas Yagisawa), chugging, churning is a solo for multi-percussion setup. This piece is ferocious! A sea of polyrhythms, build-ups, and drops make chugging, churning a continuous adrenaline-filled ride. Approximately 7.5 minutes in duration.
cycles (lead pan)
As with Spice, these pieces explore the softer, more lyrical side of the steel pan, using cardboard dowels in many instances instead of traditional steel pan mallets. Each piece may be played individually, and the set has easier and harder moments, with lots of room for creative interpretation to make these your own. “Sun,” for instance, may be played solo, as a duo, or with a backing track. How to interpret the title of the second piece, “Waves,” and whether or not to reflect that musically is left open to the player. The entire set runs about 20 minutes.
expanse (malletkat and electronics)
Commissioned by Alex Appel for his Kai Mara project, Expanse places groove front and center. The Malletkat allows the performer to switch between more organic, bell-like sounds (dulcimer, chimes, etc.) that make up supporting melodic material and cutting synths used for leads (all percussion is part of the backing track). Approximately 6 minutes in duration.
hope (glockenspiel, w/ arrangements for vibes or marimba)
hope was commissioned by New Works Project (formally New Works for Percussion Project). The title reflects my feelings as a soon-to-be parent for the continued health and well-being of our baby and more generally my hope that we as a society can overcome the shit show of our current administration and get to a better place where all of us can thrive.
hope was featured in NWP's second Video Performance Challenge. The winner, JR Alberto, collaborated with Four/Ten Media on the above video shoot and release. Originally scored for solo glockenspiel, hope also has an arrangement for solo vibraphone and for solo marimba. Approximately 7.5 minutes.
loss, found (multi-percussion solo)
loss, found was written for Daniel Heagney. Its technical challenges (especially in terms of rhythmic independence in the hands) never gets in the way of its lyricism. The quotation in the score refers to the 2016 election, which inspired the middle section of the piece. loss, found is about 13 minutes long.
Spice (double seconds)
Spice was written for and dedicated to Carolina. Special thanks to Andy Akiho, Josh Quilen, and Kendall Williams. The pieces explore the softer, more lyrical side of the pan and use cardboard dowels in place of traditional steel pan mallets. The set includes Clavo, Comino, Anís, Cacao, Sal, Azúcar, and Canela. These solos may be performed together or individually.
braced (bass clarinet)
Written for Jon Russell, Braced is a glitchy, technically demanding bass clarinet solo that explores and then explodes the full range of the instrument. Approximately 6:30 in duration.
a peck of pint-sized pieces, or piccolo your poison (piccolo)
Highlighting the versatile nature of this oft overlooked instrument, a peck of pint-sized pieces for piccolo creates a series of worlds where piccolos may be observed in their natural habitats, whether murmuring in ghostly low, pale tones, cavorting joyously, or tearing through angular chromaticism with ferocious facility. This collection of sixteen solos (the number of pints in a peck, of course!) culminates in a nearly eight-minute solo aptly named Showpiece.
duos
After (two vibes, glock, kick, snare)
Originally written as part of More Time For Coffee (a blackbox production), After is pure EDM bliss, except that it's entirely acoustic. For 2 vibraphones, glockenspiel, kick drum, and snare. Approximately 4 minutes in duration.
buzzed (pitched percussion and vibe/kick/snare)
Highlighting the versatile nature of this oft overlooked instrument, a peck of pint-sized pieces for piccolo creates a series of worlds where piccolos may be observed in their natural habitats, whether murmuring in ghostly low, pale tones, cavorting joyously, or tearing through angular chromaticism with ferocious facility. This collection of sixteen solos (the number of pints in a peck, of course!) culminates in a nearly eight-minute solo aptly named Showpiece.
glow (two vibes and glock)
For two vibraphones and glockenspiel, Glow explores the similarities and dissimilarities between these instruments. It moves at a comfortable pace, allowing resonance to fill the air, shimmering softly, eventually switching to hands for the soft, gossamer landing. Approximately 4:00 in duration.
surge (tuned pipes and drum set)
Commissioned by Conner Viets and Hannah Gallamore of CHannel2 Duo, surge involves several waves of tempo accelerations that the performers have to navigate together. Note groupings expand as others contract, and all the while the kick drum drives the piece. Approximately 4.5 minutes in duration.
Unsteady (2 snares, 4 slabs, 1 vibe)
Unsteady is a two-movement commission by Steady State for two percussionists. dirt, for woodblocks and snare drums, explores the friction that results from different degrees of time slippage, from a slight friction to a major rupture. The second movement, glimpse, uses prepared vibraphone to create an ambient world full of unexplored colors. Unsteady is approximately 30 minutes. The two movements can be played as separate, standalone pieces (each is approximately 15 minutes).
Breath(e) (2 alto saxes)
Breath(e) is a piece for two alto saxophones that starts relentlessly and only builds from there. Its initial, angular rhythms eventually become long, curving lines, in each case exploring the inherent necessity of breath, space, and lack thereof in saxophone playing. Approximately 9 minutes in duration. Premiered by Epoch Duo.
Edge (flute and piano)
Edge was composed for the Righteous Girls and is featured on their critically acclaimed release, gathering blue. A knife-edged glitchy rhythmic unison between piano and flute opens the piece, staccato stabs blurred by brief legato bursts. Delicate moments of stasis barely stave off the alternating eruptions from flute and piano. Nevertheless, these calm oases eventually emerge triumphant, Edge ending with soft piano harmonics and whistle tones. Approximately 7 minutes in duration.
To One (clarinet and shakuhachi)
Composed for Riley Lee and Barbara White, To One explores the sometimes grey area along the pitch-time continuum where you don't know if you're coming or going, but you're certainly listening! The emphasis here is on sound and its evolution over time. For shakuhachi and clarinet. Approximately 7 minutes in duration.
chamber works
After (percussion quartet)
Originally written as part of More Time For Coffee (a blackbox production), After is pure EDM bliss, except that it's entirely acoustic. For 2 vibraphones, glockenspiel, kick drum, and snare. Available as a percussion duo, quartet, and string quartet. Approximately 4 minutes in duration.
another night (percussion quartet)
For percussion quartet, another night is pure electronic dance music in an entirely acoustic realm. For two vibraphones, 5-octave marimba, glockenspiel, and drum set, another night opens in an ambient world that soon gives way to a head-nodding, toe-tapping groove. Whether united in syncopation or rocking hard in the pocket, another night is joyful both to listen to and to play. Approximately 11 minutes in duration.
breaking (percussion quartet plus drum soloist)
A white-knuckled concert opener, with plenty of room for the soloist to improvise. Lots of fast-changing, interlocking rhythms and shifts in pulse make this one fun to listen to and more fun to play. Commissioned by Joe McCarthy. Approximately 5 minutes in duration.
dreams (duo, trio, or quartet + electronics)
Written for SoSI 2016, dreams premiered as a trio plus electronics (there is now a quartet plus electronics version). Two non-pitched multi-setups anchor dreams, their complicated rhythms alternating dialogue and unison yet always supporting and propelling the piece forward to ever-greater highs. A virtuosic vibraphone is placed front and center, weaving in and out of the electronics (live mixed or pre-recorded), creating pulsating melodies that flicker with colorful licks. Approximately 10 minutes in duration. Video above is from the premiere, featuring the amazing Sam, Sarah, and Sarek!
Score purchase comes with MIDI files to let performers customize their electronic sounds as much as they want. Also included is a full mix (I will send you this and click tracks after purchase).
fade to light (percussion quartet)
fade to light is an extended exploration of the softer sound world I've been exploring. A companion piece to murmur, fade to light is for two vibraphones and features an assortment of new techniques and sonic territories. murmur and fade to light comprise my dissertation composition, softer shadows, submitted 2016 to Princeton University.
murmur (percussion quartet)
murmur, one of two movements that comprise my dissertation composition (see fade to light), was composed in the spring of 2015. This quartet is for two vibraphones and features cardboard dowels from coat hangers standing in for more traditional mallets. These dowels create a 'thwack' sound when striking the bars. The result is a blurring of pitch and noise, further explored through the use (or absence) of the pedal. The piece culminates in a chorale using ping pong balls and a bow, the percussiveness throughout now taken to a very delicate extreme. murmur is approximately 15 minutes in duration.
Phosphorous (percussion quartet)
Phosphorous was written for SoSI 2014. Fusing melody, an expansive sound palette achieved through extended techniques, and an irresistible four-on-the-dancefloor kick to propel the groove, Phosphorous brings a wide range of influences into the acoustic new music scene. Approximately 10 minutes in duration.
please don't go (percussion quartet)
Commissioned by Justin Sergi and written for Sandbox Percussion.
rush (percussion quartet)
rush explores the manipulation of the flow of time in creating dramatic builds. Using both continuous and discrete tempi shifts performed by the quartet simultaneously, rush never quite loses the feeling of the groove, the performers locked in with the four-on-the-floor as the pulse itself accelerates and decelerates. Approximately 11 minutes in duration.
Rotation (percussion quartet)
A ferocious ride of adrenaline, Rotation uses metal, wood, glass, and drums to create a continuously churning texture of excitement. Hockets, rhythmic canons, and crescendos abound. Approximately 7 minutes in duration.
After (string quartet)
Originally written as part of More Time For Coffee (a blackbox production), After is pure EDM bliss, except that it's entirely acoustic. Arranged for string quartet for the inaugural DNMC music series. Approximately 4 minutes in duration.
headbang (6, 8, and 14-player ensembles)
Premiered by the Decoda Ensemble, headbang unleashes huge, grinding synchronized chords, cello and viola funk duets, gradual disintegration of expansive harmonies into flickering pulses, and a four-on-the-floor EDM kick drum finale. Tap your toes and bang your head! Also available for 6 player (premiered by BNMI) and 8 player ensembles. Approximately 12 minutes in duration.
string quartet (string quartet)
Decidedly contrapuntal, string quartet is intensely focused for the entirety of its nearly 30 minutes (8:30, 11, and 10 minutes as approximate durations for the individual movements). Highly motivic, rhythmic, and dramatic, the quartet focuses as much on individual detail as on sweeping gestures and large-scale movement.
Time Present and Time Past (clarinet, violin, cello, piano)
Time Present and Time Past nods to Messiaen's Quatuor pour la Fin du Temps and tops things off with a fiery dose of Turangalila Symphony. Rather than being a simple pastiche, the work uses Messiaen as a starting point for my own composition. Approximately 10:30 in duration.
orchestra
Solidarity (orchestra)
Solidarity includes an orchestration of the steel pan solo Canela and a new piece, Ground. Canela, still and beautiful, relishes in the seemingly innumerable shades of color offered by orchestras, while Ground builds relentlessly from the bottom up, starting with a continuously climbing figure in the low strings and ending with a ferocious tutti. Canela is approximately 3 minutes, while Growth is around 9 minutes in duration.