soprano, flute, clarinet, percussion, and violin
Amalgam focuses on orchestration, or more precisely, the mixture and unification of the instrumental forces into one unit. This idea of amalgamation through orchestration is approached in two ways. The first approach aims at fusion, building up a complex form of unison playing, matching frequencies, rhythms, and timbres to create a unified monophonic texture. This extended unison is developed
throughout the first large section of the piece.
The second half of the piece explores heterophonic textures: a unison line created by the combination of different elements from by different instruments. Instead of true unison and monophony, fusion through connected and contrasting instrumental lines is the goal.
Ouaricon Songs Vol.2 (2015)
baritone, trumpet, trombone, and bass clarinet
The second volume of Ouaricon Songs was written for Loadbang Ensemble and is scored for baritone, trumpet,
trombone, and bass clarinet. The first volume was written for string quartet and baritone.
The word, Ouaricon, comes from the name of a river on a 1715 French map of the Eastern Canada and may be
the origin of the Oregon County, and later State, name. I invoke the word here to suggest a possible alternate
history of the North American land mass by recombining, remixing, and extrapolating from traditions of art and
Incantation is dedicated to the Architek Percussion Quartet of Montreal and was written during the Fall of 2014.
The title, Incantation, comes from musicologist Tomlinson’s, Music and Renaissance Magic, which looks at the importance of music as a magical force in ritual through examining the treatise of renaissance scholars/magi. While my music is often conceptualized along the lines of imaginary musical tradition, literary inspiration, or some sort of technical inquiry, this piece searches no further than the sounds of the instruments and the musical ideas it contains. Instead, this piece considers a musical performance as casting a spell: a musical incantation.
soprano, mezzo, counter-tenor, tenor, baritone, bass
Motorman Sextet is a work for six vocalists and was written for ekmeles vocal ensemble and is dedicated to Jeff Gavett.
This vocal sextet sets the text of 11 chapters in 9 movements from David Ohle’s classic cult science fiction novel Motorman. This piece is part of a larger work that will eventually set the entire novel. The particular chapters used in Motorman Sextet are all descriptions of past events from the point-of-view of the central character, Moldenke, which together have a generally nostalgic mood.
"El jardin de senderos que se bifurcan" is a suite of six songs for string quartet, written for the JACK quartet in the Fall/Winter of 2012-2013. The titles of the songs are:
I - Altercation
II - Pedals
III - Strumming
IV - Following
VI -- Coils
The title of the work comes from a short story by Borges, which describes a conception of time where all possible outcomes of any given situation realized and co-exist. This idea speaks to alternate histories and the concept of multi-dimensionality or "many-worlds". In this string quartet I have begun to imagine an alternate history of music, perhaps forking off somewhere in ancient times. In approaching this idea, I considered how musical development is influenced by perception and cognition and is built upon through notation and exposure to novel ideas and outside influences.
solo violin with percussion quartet
This violin concerto is dedicated to violinist, Mira Benjamin.
The title, Faith in Numbers, is taken from a popular science documentary by James Burke of the same name, which shows how technology emerges from seemingly unconnected events in history. This title doesn’t refer to faith in a religious sense, but to signify a complete trust in something or someone. I chose this title for my composition because of the utilization of the same basic proportions in all structural levels. By doing this, the reiteration of simple numbers and ratios, applied to different aspects of the composition, combine to form a complex whole.