My completed works are currently available at no cost. If you are interested in a work which does not have a score uploaded, please contact me. If you are interested in adapting a work for a particular ensemble, please contact me to discuss the possibility. I love to know when people play my music, so if you perform or record my works please let me know!
Westminster Quarters III (2022) for six tubular bells, glass pane, Max/MSP, and 2-channel audio; 16’
Laugh Lines like Growing Scars (2021) for cymbal and floor tom; 10’
Rummachen (2019) for percussion; 12’
For Elizabeth (2019) for percussion; 20’
Renovate/Relocate/Recreate (2019) [solo version] for performer, Max/MSP, 6-channel audio, and six marble tiles with transducer speaker; 10'
Westminster Quarters I (2018) for single tubular bell; open duration
Quarry (2018) for rocks and tin cans; open duration
People Ask Me If I Believe in Ghosts (2018) for open performer; open duration
they let their wings down (2018) for speaking percussionist, snare drum, Max/MSP, and two snare drums with transducer speakers; 10’
‘e, ō (2018) for performer, Max/MSP, 2-channel audio, and projected video; 8’
Nothing Set In Stone (2016) for percussion; 8’
Salt In My Lungs (2024) for three or more performers, crotales with objects; 14’
“Thank You, Sir” (2023) for five or more performers, squeaker reeds; 9’
Westminster Quarters II (2022) for three or more performers, tubular bells, and glass panes; 8’ or 16’
I can’t breathe but it is safer under water (2019) for singing violin, cello, and two percussion; 10’
Permeable Epoch (2019) for two toy pianos, two percussion, Max/MSP, 5-channel audio, and objects with transducer speakers; 11’
Propinquity (2019) for two speaking performers; 10’
Renovate/Relocate/Recreate (2019) [septet version] for seven performers with marble tiles; 10’
If you could rely on your bones (2018) for any number of speakers and performers; open duration
Hafif Scores (2018) [a collection] for variable performers; variable durations
Bi Anthem (2018) for speaker, flue, violin, and two percussion; 12’
Ametur Cor Jesu (2018) for two glockenspiels, two or more antiphonal glockenspiels, offstage percussion, Max/MSP, 1-channel audio, and rope drum with transducer speaker; 15’
To Paint A Room Pink (2018) for twelve performers with paint stirrers, bows, and drums; 12’
Aubade For… (2018) for violin and percussion; 55’
Microfoam (2018) for three performers with wind gongs, milk frothers, and water; open duration
the sea rose like ashes (as if anything was satiable) (2017) for oboe, percussion, and 2-channel audio; 9’
Transient Vessels (2018) for 6-channel audio and six cardboard boxes with transducer speakers; 40’ loop
Just The Pith (2018) for 4-channel audio and projected video; 12’