Works
retreat/return for string quintet
“retreat/return” interpolates harmonic language from Jewish cantorial singing and 11-limit just intonation. Like breath, the sound expands outwards and inwards, perpetually turning in on itself whilst remaining in constant motion. The piece renders various cantorial modes microtonally, using these scales as source material for spiraling melodies and harmonic progressions.
“retreat/return” interpolates harmonic language from Jewish cantorial singing and 11-limit just intonation. Like breath, the sound expands outwards and inwards, perpetually turning in on itself whilst remaining in constant motion. The piece renders various cantorial modes microtonally, using these scales as source material for spiraling melodies and harmonic progressions.
from alluvial rivers for tuba, bassoon and double bass
“from alluvial rivers” is an extended exploration of justly tuned harmonies for tuba, bassoon and double bass, considering the relationship between pitch and timbre. The work utilizes traditional counterpoint to slip in and out of ethereal harmonies based on the overtone series, depositing them into our ears like sediment. Contrasting sections contain moments of extreme quiet in which pitches are barely present at all, directing the listener’s attention towards texture and timbre. This juxtaposition collapses any distinction between pitch and timbre, intertwining these two concepts as simply different perspectives on the same sound.
“from alluvial rivers” is an extended exploration of justly tuned harmonies for tuba, bassoon and double bass, considering the relationship between pitch and timbre. The work utilizes traditional counterpoint to slip in and out of ethereal harmonies based on the overtone series, depositing them into our ears like sediment. Contrasting sections contain moments of extreme quiet in which pitches are barely present at all, directing the listener’s attention towards texture and timbre. This juxtaposition collapses any distinction between pitch and timbre, intertwining these two concepts as simply different perspectives on the same sound.
spiral song for three sopranos
"Spiral Song" employs phasing rhythms to swirl together melodies from three soprano singers, fusing the trio into a single sound-source. The singers share much of their melodic material, often singing the same line offest by a small rhythmic value. The different voices also frequently cross over another, furthering evaporating distinctions between the different parts.
"Spiral Song" employs phasing rhythms to swirl together melodies from three soprano singers, fusing the trio into a single sound-source. The singers share much of their melodic material, often singing the same line offest by a small rhythmic value. The different voices also frequently cross over another, furthering evaporating distinctions between the different parts.
sly for mixed chamber ensemble and electronics
“sly" is an approximately 15’ work for mixed chamber ensemble of alto saxophone, french horn, electric guitar, violin, cello, double bass, live electronics, vibraphone and percussion. The piece investigates the borders between pitch and noise, combining and transitioning between the two to create a melted, porous soundworld. The borders between each instrument in the ensemble remain blurry throughout the work, as they blend together to create new and sometimes unexpected timbres. The electronics consist of processed field recordings that add a further layer of environmental sound.
“sly" is an approximately 15’ work for mixed chamber ensemble of alto saxophone, french horn, electric guitar, violin, cello, double bass, live electronics, vibraphone and percussion. The piece investigates the borders between pitch and noise, combining and transitioning between the two to create a melted, porous soundworld. The borders between each instrument in the ensemble remain blurry throughout the work, as they blend together to create new and sometimes unexpected timbres. The electronics consist of processed field recordings that add a further layer of environmental sound.
sky, surrounded in myth for three trombones
sky, surrounded in myth (2025) is an exploration of 7-limit just intonation harmonies for trombone trio. the piece utilizes only septimal and pythagorean notes in the harmonic series, without any 5-limit components. Inspired by ancient myths of the night sky, the slow-moving sonorities aim to envelope the listener in an unfamiliar yet beautiful soundscape. The final section contains a saturated phythagorean texture, full of stacked fourths and fifthsthat create denisty and tension as the piece builds towards the end.
sky, surrounded in myth (2025) is an exploration of 7-limit just intonation harmonies for trombone trio. the piece utilizes only septimal and pythagorean notes in the harmonic series, without any 5-limit components. Inspired by ancient myths of the night sky, the slow-moving sonorities aim to envelope the listener in an unfamiliar yet beautiful soundscape. The final section contains a saturated phythagorean texture, full of stacked fourths and fifthsthat create denisty and tension as the piece builds towards the end.
splinterings for double bass and live electronics
/////splinterings///// is an approximately 25 minute work for double bass, live electronics and electronic toothbrush. The piece comprises a spectral exploration of the timbres embedded within the bass itself. A custom-built Max/MSP patch detects the various frequencies played by the bass, voicing these as a sine tone, which then inform the improvisational choices made by the performer in a feedback loop. The resultant texture is an expanded sonic field, constantly morphing, that saturates the performance space. The piece uncovers a variety of auditory phenomena, such as timbral beating, otoacoustic emissions, and spacialization effects, creating a sense of “living” sound that enters and inhabits the space along with the performer and audience.
/////splinterings///// is an approximately 25 minute work for double bass, live electronics and electronic toothbrush. The piece comprises a spectral exploration of the timbres embedded within the bass itself. A custom-built Max/MSP patch detects the various frequencies played by the bass, voicing these as a sine tone, which then inform the improvisational choices made by the performer in a feedback loop. The resultant texture is an expanded sonic field, constantly morphing, that saturates the performance space. The piece uncovers a variety of auditory phenomena, such as timbral beating, otoacoustic emissions, and spacialization effects, creating a sense of “living” sound that enters and inhabits the space along with the performer and audience.