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4x5 (2025)

For 4 or more instruments

4x5 is a piece centered around communication, where the conductor and ensemble navigate a sequence of simple yet dynamic musical textures. Together, they carve a unique path through the music, shaping its direction in real time. The conductor holds the freedom to guide and mold the piece as they see fit, relying on the ensemble’s ability to listen, respond, and adapt seamlessly to spontaneous changes and decisions made in the moment.

The Physical Urge (2024)

For mixed quintet, prepared loudspeakers and live electronics

When confronted with the concert theme of "exposed wiring," I began to reflect on what this concept might represent in the realm of music. In its most literal sense, exposed wiring refers to electrical wires that are left uncovered or unprotected, visibly revealing their raw, functional state. I embraced this definition as the foundation for my composition, and from that, The Physical Urge was born. My aim was to unveil the inner workings of the music—to strip away the layers that typically shield the ensemble and the electronics, laying bare the traditionally hidden elements in a raw, unprotected state.

In doing so, I sought to highlight the inherent vulnerabilities and imperfections that are part of the creative process in any musical or artistic endeavor. Both the ensemble and the audience are invited to experience these fragile dynamics together. The piece is deeply dependent on the musicians being fully present and attuned to one another, as conventional structures—such as time signatures, measures, and rhythms—have been removed. This leaves the ensemble with no choice but to communicate in real-time, with the music evolving only as the players reach a shared understanding in the moment.

Similarly, the electronics are thrust into a more tangible, visible space. By using prepared loudspeakers, I allow the audience to witness the physicality of electronic sound, offering a rare opportunity to see the musicians interact with that sound in a live setting. Through The Physical Urge, my goal is to expose the "wires" of the music—both metaphorically and literally—for all to see, making the creative process as transparent and unguarded as the sound itself.

Introspection Canon (2024)

For any instrument with strings, transducers, and quadraphonic diffusion

Gutai (2024)

For piano, transducers, quadraphonic diffusion, and live electronics

Gutai is a piece written as an experiment in self listening. During the piece, every musical choice the pianist makes has the potential to come back later through the electronics. The performer must always be listening and be ready to respond to and come to terms with the decisions made previously in the performance.

Megalith (2024)

For five voices of any type

Megalith is a composition for five voices of any type, designed to cultivate and emphasize a profound sense of ensemble communication. This work challenges performers to engage fully with one another, demanding attentiveness and collaboration at every moment.

The structure of the piece is grounded in graphic instructions, providing each vocalist with specific visual cues to guide their journey through the work and shape their vocal expressions. Traditional elements like rhythm and dynamics are distilled into abstract shapes and spatial placements, while pitch is intentionally omitted. This deliberate absence of notated pitches compels the ensemble to navigate the piece’s harmonic landscape collectively, relying on their mutual understanding and adaptability.

As a whole, Megalith serves as a reflection on the principles of communication, trust, and synergy within an ensemble, highlighting the interdependence required to bring the work to life.

Excerpts from Book I (2023)

For open instrumentation

Three Pages from Book I & II (2023)

Books I & II comprise a series of graphic scores designed for improvised performance, offering a visual representation of musical moments frozen in time. This project embodies my endeavor to translate the ephemeral essence of sound into the permanence of ink. The collection aspires to inspire musicians to interpret these visual snapshots, transforming them into complete musical compositions and breathing new life into the captured moments.

Book I explores the simplicity and depth of black and white, revealing the subtle nuances and interplay that can exist within two contrasting tones. Book II, in contrast, delves into the metaphorical concept of musical color and the tangible dynamics of how the three primary colors interact and blend. Together, these works aim to inspire musicians to interpret these visual compositions, transforming them into dynamic musical pieces and revitalizing the essence of the captured moments into sound.

Each page was meticulously created using unique methods designed to preserve the organic behavior of the ink. Employing techniques such as simple brushstrokes, the pull of gravity, the push of air, and the textures of rocks, and other found objects from my daily environment, I sought to allow each image to evolve naturally. By embracing this process, I endeavored to let the images define themselves, free from over-manipulation or excessive intent.

A Turning Point (2023)

For solo cello

The Color & Space (2023)

For any solo instrument and electronics

The Color & Space is a short yet evocative composition designed to immerse the audience in an awareness of their surroundings. As the performer interprets a graphic score—centered on the transformation of color—a hidden transducer or speaker within the performance space introduces an element of mystery. The instrument is routed through a delay, creating an auditory phenomenon where what is played by the performer is echoed back from an unidentified location.

This setup transforms the performance into an unexpected duet between the visible musician and an unseen counterpart. The interplay of sound prompts the audience to scan the space, searching for the elusive source of the secondary voice. In doing so, they become acutely aware of the environment, recognizing it as an integral part of the performance.

The aim of The Color & Space is to offer the audience a moment of introspection, encouraging them to pause and appreciate the unique qualities of the space itself—making it as essential to the experience as the performer’s artistry.

Dissatisfaction (2023)

For voice, trumpet, trombone, and bass calrinet

Divergence (2023)

For voice, flute, and double bass

Divergence is a concise, 60-second composition focused on the intricate communication between performers. Through its brief duration, Divergence explores the nuances of ensemble dynamics and the tension between individual expression and group cohesion.

Noise Box (2023)

For saxophone and live electronics

Noise Box is a piece about change and exploring the limitless beauty of the saxophone. It takes place over three movements, each of which is meant to highlight a different aspect of the saxophone. Through the electronics, the subtle characteristics of the saxophone are illuminated and elevated. A new sonic world is created to surround the instrument.

Movement I: Singing -Singing is the movement based around the idea of the saxophone producing multiple voices. The saxophone has this mystical ability to break free of itself and become its own choir. I wanted to create a platform to allow the saxophonist to show this unique ability and to allow the saxophone to sing in the way that makes it such a special instrument. This is achieved through large leaps, rapid arpeggiation, multiphonics, and the saxophonist using their own voice in combination with playing.

Movement II: Breathing -Breathing is a movement based around the most integral of all relationships between the saxophonist and their instrument: breathing. The movement is quiet and short, serving as a platform to show the subtlety of the instrument. Through small changes in the amount of air added and taken from a note, different ways of playing notes, playing with too much air, and playing with no air, the music allows the creation a truly intimate moment with their sound.

Movement III: Thinking -Thinking is the most free, while also being the most constricting point of the piece. The performer is given only five different finger positions to play, but allowed the utmost freedom in what to do with them. It is a moment of music that pushes the player to truly think outside the box.

Rain on a Thin Metal Roof
(2023)

For orchestra.

Dead Trees (2022)

For string quartet

Dead Trees is a string quartet inspired by a simple observation: throughout a tree's life, its "voice" is rarely, if ever, a topic of discussion or contemplation. Yet, after its death—transformed into an instrument—its voice becomes the central focus of artistic expression. This work serves as a tribute to these silent witnesses of time, honoring the journey of the tree from a living entity to a vessel of sound. Dedicated to these "dead trees," the piece seeks to imbue their posthumous voice with reverence and meaning.

Press (2021)

For solo violin

Press is a solo violin composition that delves into one of the most essential elements of violin sound production: the motion of the bow. Through meticulous and detailed notation of each bow stroke, the performer is given precise control over the instrument’s timbre, enabling an intimate exploration of its sonic possibilities.

Anchored by the pitch of G, Press evolves through a series of gestures that continuously push boundaries. Each pitch is developed and transformed either through nuanced bow motion or the subtle shifts of microtonal inflections. With every deliberate press of the bow, the piece unveils a new sonic landscape, inviting the performer and listener alike to explore the rich palette of tonal colors the violin can produce.

This work is both a technical and expressive journey, highlighting the profound relationship between the physicality of bowing and the creation of sound.

Ebb & Flow (2021)

For oboe and resonating piano

Ebb and Flow is a composition deeply rooted in the exploration of resonance and its transformative possibilities. At its core lies the interplay between sustained tones and evolving textures, creating a meditative and dynamic sonic environment.

The piece begins with an ebow placed on the piano, producing a continuous, ethereal drone that serves as a resonant backdrop. Against this immersive soundscape, the oboe gradually emerges, weaving its voice into the resonance and initiating a delicate duet with the sustained piano tone.

As the performance progresses, the ebow is removed, and the oboe assumes a new role as the primary source of resonance. By directing its sound into the undampened piano strings, the oboe transfers its energy to the instrument, transforming the piano into a resonating chamber. This shift liberates the oboe, allowing it to explore new melodic and harmonic territories, ultimately creating a fresh and expansive sonic space.

3...2...1... (2021)

For 3 or more instruments

An Alms (2021)

For amplified tam tam and electronics

An Alms is a composition that explores the evolution of sound and timbre, delving deeply into the dynamic relationship between sound and performer. The piece centers on the manipulation and augmentation of the natural sounds produced by an amplified Tam-Tam and Singing Bowl. As the performance unfolds, the initially pure metallic tones of these instruments gradually transform, their clarity increasingly obscured by the introduction of coins and electronic processing.

The distortion of the sounds grows progressively, evolving in real time as the performer interacts with the materials, reflecting a continuous dialogue between human agency and acoustic transformation. An Alms is as much about the performer’s growing understanding of the sounds they are shaping as it is about the sounds themselves. This evolving connection culminates in the performer’s cadenza, where the interaction between performer and sound reaches its apex.

At its core, An Alms is defined by its exploration of key contrasts: purity versus distortion, performer versus sound, attack versus resonance. These relationships form the structural and conceptual backbone of the piece, driving its narrative and sonic trajectory.

Re | Run (2022)

For solo piano

By Coincidence (2022)

For suona duo

519 (2021)

For solo suona

Break Those Bones (2020)

For mixed quartet

Hear more of my music on YouTube and SoundCloud.