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this piece was composed for a workshop with Maria Schnieder. pieces were to be between 30-60 seconds long, and utilize the orchestra in a unique way.
four textures for orchestra
four textures for orchestra is composed in four continuous movements, each reflecting a different orchestral texture. these textures are loosely inspired by the paintings of Mark Rothko.
music for liminal spaces
music for liminal spaces was composed in the fall of 2017. The wind band is known for it’s wide range of colors and timbres. music for liminal spaces focuses almost exclusively on that color palate, using various combinations of timbre to shape the form of the piece. A single melodic line flows in and out of the texture, interacting with textures surrounding it in different ways. music for liminal spaces swells and pulses within itself before ending in stasis. The idea of liminality is one that has been explored before by composers like Gerard Grise and Morton Feldman. These composers would often focus on changes within music that are barely perceptible, changing only slightly, and slowly. music for liminal spaces attempts to capture these same ideas and emotions, though scored for a larger ensemble. It is meant to explore music that is delicate, with patience and honesty.