Catalog of Compositions
The following is a catalogue of all my extant compositions, arranged in chronological order going back to my first piece for classical guitar to my current ongoing work in adaptive scores.
| No. | Title: | Length: | Description: | Instrumentation: | Assets: |
| 1 | Invocation | 1:21 | Simple piece; with or without electronics | Classical guitar | Recording |
| Electronics (reverb with controllable bandpass filters) | |||||
| 2 | Etude in D Major | ~2:00 | Effervescent study | Classical guitar | |
| 3 | Bedwell | ~4:00 | Piece depicting Bedwell Park | Classical guitar | |
| 4 | Sundowner | ~4:00 | Jazz ballad | Classical guitar | |
| Unfinished version for orchestra | |||||
| 5 | KIND[ER]TOT[EN]LIEDER | ~30:00 | Experimental oratorio to commemorate the 5-year anniversary of Sandy Hook | Recitativists | Libretto |
| Recordings of Mahler’s Kindertotenlieder | |||||
| 6 | Gustav and Gucki’s Song (Suite): 1. A lullaby; 2. A pas de deux; 3. A fantasy; 4. A joke without a punchline | ~12:00 | Suite of four songs related to when Mahler first came to America with his surviving daughter, Anna (“Gucki”). The final piece is an experimental completion of the lacuna for the second movement of Mahler’s unfinished piano quartet | Classical guitar | Recordings |
| Electric guitar | Score | ||||
| Electronics | |||||
| Piano | |||||
| String quartet | |||||
| 7 | Adddulation (Spring) | ~4:00 | Inspired by Americana; one whole tone shy of ubiquitous DADGAD folk tuning | Recording | |
| 8 | Bolerito | 2:09 | Exercise in hybrid acoustic-electronic orchestration | Clarinet | Video |
| Piano with electronics (freezer and phaser) | Score | ||||
| Double bass | |||||
| Snare | |||||
| Analog monosynth | |||||
| 9 | The Four Causes | 4:00 | This piece came out of an elaboration on Sarah Belle Reid’s The Postcard Project, which in turn came out of James Tenney’s Postal Pieces | Field recording (wind) | Recording |
| Electronics (Organelle M) | Score | ||||
| 10 | The Secret Spot | 5:47 | This piece started with work for a group realization of Alvin Lucier’s Quasimoto; the piece that came out of it is very much its own thing; the only two originating sources are corporate sculptures (excited by mallets and brushes) and classical guitar | Corporate sculptures | Recording |
| Classical guitar | Photos | ||||
| Electronics (mics, speakers, computer) | |||||
| 11 | The Tangible Tangerine | 5:43 | My first fully-fledged piece in 24-TET | Oboe | Recording |
| Clarinet | Score | ||||
| Bassoon | |||||
| Violin | |||||
| Viola | |||||
| Cello | |||||
| Classical guitar | |||||
| 5-string fretless bass | |||||
| Guira | |||||
| Snare | |||||
| Temple blocks | |||||
| Melodic toms | |||||
| Gong | |||||
| Bass drum | |||||
| 12 | Et. | ~2:00 | Came out of a challenge to write a piece incorporating two distinct melodies emphasizing the notes Ab, E, and G in unbder 30 min | Classical guitar | Recording |
| 13 | OClock | 4:54 | Braindance style piece on permutations of Westminster Quarters polymetrically restructured using additive rhythms | Slavic lap harp | Recording |
| 5-string fretless bass | Music video | ||||
| Electronics | |||||
| 14 | Et Divertissements 1 - 3 | 3:20, 4:00, 6:00 | Attempts to write music for sync licensing | Electronics | Recordings |
| 15 | It Still Is | ~7:00 | Upbeat jazz-inflected piece | Classical guitar | Recording |
| 16 | 4 and 20 Blackbirds | 10:00 | My second piece in 24-TET, this one specifically exploring quarter-tonal extensions of Messiaen’s second mode of limited transposition; middle section based around renaissance song, “Sing a Song of Sixpence” | Flute | Recording |
| Oboe | Score | ||||
| Trombone | Video | ||||
| Cello | |||||
| Classical guitar | |||||
| 5-string fretless bass | |||||
| Electronics (1 pad based sampler, 1 keyboard sampler) | |||||
| 17 | For Johnathan Kelly | ~6:00 | Elegy for my late friend Johnathan Kelly | Classical guitar | Recordings |
| Electronics (sampler, resonator, multitap delay, | Video | ||||
| Organelle M) | Pure Data patch | ||||
| 18 | Gaditha & Wally | ~12:00 | 3 movements: I. By Land, II. By Sea, III. By Car; written originally for piano, then it also became a guitar piece | Piano or classical guitar | Score |
| 19 | Saxophone Quartet for Edwin Chiloba | 4:12 | 2 movement saxophone quartet written in response to the brutal murder of Kenyan LGTBTIQ activist, designer, and model, Edwin Chiloba; the first movement is written around the letters of his name, C B A E D; the second movement represents the tearing apart of that name | Soprano saxophone | Score |
| Alto saxophone | Video | ||||
| Tenor saxophone | |||||
| Baritone saxophone | |||||
| 20 | Simple Song for K. | 3:22 | Ambient piece to memorialize a simple creature | Amplified nepenenoyka (Slavic lap harp) | Recording |
| Field recording (backyard sounds) | |||||
| Electronics (granular synthesis, delay, reverb) | |||||
| 21 | SemiHemiDemiCircle 1 | 4:17 | Adaptive score for octet of variable instruments | Computer | Software demonstration |
| 7 other pitched instruments, 2 of which should be pitched percussion | Rehearsal video | ||||
| Live performance video | |||||
| Studio recording | |||||
| 22 | SemiHemiDemiCircle 2 | 8:16 | Adaptive score for quintet of variable instruments | Computer | Studio recording |
| 4 other pitched instruments, 1 of which should be pitched percussion | |||||
| 23 | Furcates Furrows | ~7:00 | Study in microbinary form | Classical guitar | |
| 24 | Geryon’s Lament & Tango | ~6:00 | Extracts from an opera project based on Anne Carson’s Autobiography of Red | Classical guitar | |
| 25 | Untitled Variations | ~8:00 | Variations for guitar in EGCGCF tuning | Classical guitar | |
| 26 | L.i@F.ux | 3 video-to-audio synthesis experiments | Electronics | Video |