Brandeis University Portfolio

Welcome to my website. Here I provide links to scores and recordings for my Ph.D. application portfolio at Brandeis University. Each piece includes four points of information in the following order: suggested time ranges for viewing/listening, a link to a score, a link to a recording, and a brief description. At the bottom of this page a brief video is provided that curates the majority of suggested viewing/listening times listed. It includes the corresponding video for Ritual no. 1, and score excerpts for For Béla and Reed Quintet no. 1. It is the most expedient way to get an overview of my portfolio.

  • Ritual no. 1 – Ascension of the Primes (2019-2020)

Suggested Viewing Movement 1: 1’50” – 3’20” and 5’18” – 6’48”

Movement 2: 13’30” – 16’28”

Movement 3: 22’30” – 24′

Movement 4 into Movement 5: 32’31” – 35’31”

SCORE

RECORDING

Ritual no. 1 is a five movement audio/visual piece crafted in Max/MSP. The piece begins in 3-limit just intonation. A prime number is added in each movement so that the fifth and final movement is in 13-limit just intonation. The piece is influenced by a diverse range of musical styles and compositions including Phillip Glass’s Music in Changing Parts La Monte Young’s Well Tuned Piano, Hindustani Raga, and the Grateful Dead. I performed and/or recorded every aspect of the piece including the video and instrumental samples heard throughout. Much more detailed information is provided on the page that hosts the recording.

Each movement is assigned a poetic title. These titles fit together to give a brief and surreal narrative, which weaves together a number of historical and religious people and images.

I. As Pythagoras Enters into Heaven

II. Ptolemy Sings in the Court of Akhnaten

III. and Mary Dances on back of the Terrapin

IV. Christ Prays Under the Seven Faced Marble Eye

V. and the Angels Chant in the Womb of the Tathagata

  • For Béla (2020) (Orchestral mock-up made with East/West sample library)

Suggested Listening: 3’18” – 6′

SCORE

RECORDING

For Béla is an orchestral composition which pays homage to the music of two pillars of twentieth century music: Béla Bartok and Igor Stravinsky. The piece pays homage to Bartok in its reliance on the Axis Theory of Ernő Lendvai. Axis theory manifests itself most clearly in the piece’s growing insistence on diminished harmonies as the climax approaches, as well as the determination of pitch centers across the piece. The influence of Stravinsky is heard most strongly at the end of the piece, during which the texture is modeled on textures heard in Symphonies of Wind Instruments and Requiem Canticles. The recording presented here was made using the East/West sample library. This was my first time creating an orchestral mock-up of this caliber.

  • Reed Quintet no. 1 (2019) (Recorded during a reading by the Akropolis Reed Quintet)

Suggested Listening: 0′ – 2’57”

SCORE

RECORDING

Reed Quintet no. 1 was written in two stages. The pieces were first composed almost entirely through process. After composing them systematically I put them through “composition surgery” to craft the product presented here. The systematic approach that I took in this piece was based on the number of the Fibonacci series. Fibonacci number influenced the construction of scalar material, intervallic relationships, rhythmic divisions, and the approximate length of each movement in minutes. The piece is in three movements with the following character titles:

I. With Light Intensity

II. With Individual Precision

III. With Flowing Movement

Work in Progress

Ritual no. 2: (and the Angels Continued)

I am in the process of composing this piece for the Syracuse University Singers. We will hopefully realize some or all of it in the Spring of 2021. The piece is spatially composed for performance in Hendricks Chapel at Syracuse University. Its 13-limit tuning expands on the tuning of the fifth movement of Ritual no. 1. It includes excerpts of texts from the Gloria, José Marti, Ralph Waldo Emerson, and three sacred texts: the Bible, the Bhagavad Gita, and the Tao Te Ching.

Supplemental Work

Generative Meditation

Recording

This installation piece is mentioned in my personal statement, so I have chosen to include it here as a supplement to my portfolio. The piece is based on a drone made up of the first 16 harmonics of the overtone series. The fundamental of the overtone series is determined by the year, month and calendar day on which the piece is being performed. The algorithm that calculates the fundamental takes the year/100, the month/10, the day/10, the hour/100, the minute/100 and the second/10000 and adds the 6 values together. As a result, the tuning of the piece is in a constant state of flux from day to day. I performed an improvisatory chant in this recording.

List of Works

35) Ritual no. 2 (And the Angels Continued) [2020] for 34 Voice Choir, 4 Mallets, Electronic Assistance and Video

– To be premiered Spring 2021 by Syracuse University Singers

34) Probably Blue [2020] for Computer

– Produced in Max/MSP

33) Reflection no. 2 [2020] for Flute and Piano

– Premiered during the 2020 Cazenovia Counterpoint Festival

32) Ritual no. 1 (Ascension of the Primes) [2019 2020] for Voice and Computer

– Fully produced audio/visual recording in fulfillment of my masters recital requirement at Syracuse University

31) For Béla [2020] for Orchestra

– Mock-up produced with East/West sample library

30) Reflection no. 1 [2019] for Piano Solo

– Recorded at Syracuse University by Andrei Skorobogatykh (Performance canceled due to COVID-19)

29) Reed Quintet no. 1 [2019]

Recorded in a reading by Akropolis Reed Quintet

28) String Quartet no. 3 [2019]

– Read by Verona String Quartet

27) Lux Aeterna [2019] for 16 Vocalists, Trumpet, Soprano Saxophone, Clarinet, Piano, String Quartet and Electronic Assistance

– Commissioned and premiered by University of the Pacific’s 28/78 New Music Ensemble for the 2020 New Music Festival

26) Generative Meditation [2018 2019] Sound Installation

– Premiered by Kevin Swenson in the Owen Hall Recording Studio at University of the Pacific

25) Jesus in the Shade of the Bodhi Tree [2019] Fixed Media

– Recorded and produced in the Owen Hall Recording Studio

24) The Body Where I was Born [2019] for Trumpet solo or duet and Computer

– Premiered by Kevin Swenson and Thomas Hubel during Spring 2019 Composers Club Concert at University of the Pacific

23) String Quartet no. 2 (The Void) [2019]

– Premiered during Spring 2019 Composers Club Concert at University of the Pacific

22) Electric Dreamscape no. 1 [2019] for Violin and Computer

– Created in collaboration with Sabrina Boggs and premiered during the Spring 2019 Composers Club Concert at University of the Pacific

21) Visions [2018] for Chamber Orchestra in 4 Movements

– Premiered during Senior Recital at University of the Pacific

20) Quadrangularis Reversum [2018] for Viola and Computer

– Created in collaboration with Krista Swenson and premiered during Senior Recital at University of the Pacific

19) Ritual Dance in a Buchlidian Temple [2018] for Buchla Synthesizer

– Performed live by Kevin Swenson for Senior Recital at University of the Pacific

18) Buchlidian Landscape no. 2 [2018] for Buchla Synthesizer and Computer

– Performed by Kevin Swenson for Spring 2018 Composers Club Concert at University of the Pacific

17) String Quartet no. 1 [2018]

– Premiered during Spring 2018 Composers Club Concert at University of the Pacific

– Performed again for 2019 28/78 New Music Festival at University of the Pacific

16) Distances [2018] for Trumpet Octet

– Premiered by the University of the Pacific Trumpet Studio during the Spring 2018 Composers Club Concert at University of the Pacific
– Recorded in the Owen Hall Recording Studio by Leonard Ott (Trumpet) with Chris Sacha and Kevin Swenson (Engineers)

15) Dance with the Dawn [2017] for Buchla Synthesizer

– Fixed Media recording by Kevin Swenson

14) With the Shapes [2017] for Alto Voice with Piano and Bass Voice with Guitar

– Premiered during the Fall 2017 Composers Club Concert at University of the Pacific

13) Buchlidian Landscape no. 1 [2017] for Buchla Synthesizer

– Fixed Media recording presented during the Fall 2017 Composers Club Concert at University of the Pacific

12) Winston Smith Enters Room 101 [2017] for Percussion Trio

– Premiered during the Fall 2017 Composers Club Concert at University of the Pacific

11) Shall the Circle Survive? [2017] for Saxophone Octet

– Premiered by the University of the Pacific Saxophone Studio during the Fall 2017 Composers Club Concert at University of the Pacific

10) Trio for Trumpet Saxophone and Piano [2017]

– Premiered during the Spring 2017 Composers Club Concert at University of the Pacific

9) I Dream a Neon Lit Night [2016] for Flute, Clarinet and Bassoon

– Premiered during the Fall 2016 Composers Club Concert at University of the Pacific

8) John Brown at Harper’s Ferry [2016] for Concert Band

– Premiered by the Yuba College Symphonic Band during their Fall 2016 Concert

7) Will the Circle be Unbroken? [2016] Arrangement for Brass Quintet

– Premiered by Sutter Buttes Brass at 2016 Rafael Mendez Brass Institute

6) Great River Variations [2016]for Woodwind Quartet

– Premiered at the final Yuba College Noon Recital of Spring 2016

5) Recursive Relationships [2016] for Trumpet and Piano

– Premiered at a Yuba College Noon Recital in Spring 2016

4) Andante and Allegretto [2015] for Brass Quartet

– Premiered by Sutter Buttes Brass at a Yuba College Noon Recital in Fall 2015

3) By the Muddy Feather River [2014] for Brass Quartet

– Premiered by Sutter Buttes Brass at a Yuba College Noon Recital in Fall 2015

2) Sermons [2013] for Clarinet, Violin, Cello, Piano and Narrator

– Never performed

1) Fireflies [2012] for Orchestra

– Premiered by Yuba Sutter Symphony at 2013 Young Artist Showcase in Yuba City, California (Conducted by Kevin Swenson)

– Winner of 2012 Yuba Sutter Oratorio Society Young Artist Competition