Splinter (2013) for flute, oboe, clarinet, bassoon, horn, trumpet, trombone, vibraphone, bass drum, crotales, violin, viola, violoncello, doublebass
Splinter begins focused and narrowed on a single pitch before splintering away to reach new pitches. As the piece progresses the melodic intervals expand in conjunction with expanded range and orchestration in the ensemble.
firework smoke (2012) for clarinet/bass clarinet, 2 percussion, piano
firework smoke was written for the Zeitgeist Ensemble in 2012. The piece is a study in orchestration as each new sound and instrument peels away from the sound of another and informs the next entrance. The rumbling "smoke" in the piano expands in range throughout the piece before dissolving into the upper register at the close.
Solstice (2009, ed. 2011) for SATB choir
Solstice was written for the Rice University Chorale under the direction of Thomas Jaber as a "palette cleanser" amongst pieces of sacred and Christmas texts. Alexa Langrock, a close friend and poet, created the text for this project.
Portrait (2014) for fixed media
Portrait is a sonic representation of pointillism in visual art. The piece is inspired by the oil painting "Portrait of a Hill" by Angelo Franco, mimetically expressing physical and artistic elements of the work. Various auditory "memes" in the composition evoke aspects of the painting's construction. Low frequency drones emulate the two-dimensional aspect of the painting as well, mapping various contours of the image. High-pitched scraping sounds divide each section almost equally, much like the pencil lines just visible underneath the pain. Multi-timbral rhythmic components weave in and out, representing the painted dots–varied in color, size, and shape–which ultimately combine to create one cohesive portrait.
Claustrophobia (2014) for fixed media
Claustrophobia narrates the emotional reaction to riding in a dilapidated elevator by evoking feelings of claustrophobia. Manipulation of the recorded sound creates a surrealistic environment: the dry (unaffected) elevator sounds pull us back to the reality of a real, existing space, whereas the anxious breathing and wet (heavily affected) sounds represent the cognizant experience. Physical and emotional reams collide when the elevator halts and begins a free-fall.