Electric Dreamscape no. 2

Electric Dreamscape no. 2 is an interactive audio/visual composition for solo Trumpet and Live Electronics. Heavily influenced by the concept of “moment form” in the music of Karlheinz Stockhausen, Electric Dreamscape no. 2 contains three “Primary Moment Groups.” Each moment group contains three “models” upon which the player bases an improvisatory performance. The structure of… Continue reading Electric Dreamscape no. 2

Tetraktys in Neon

Tetraktys in Neon, for just-intonation MIDI Piano, Voice and Computer is an audio/visual work set in a 3-limit just-intonation environment. The piece was inspired by the Pythagorean symbol of the Tetraktys – a triangular figure constructed with four rows of dots, as seen at the beginning and end of the work. In short, the Tetraktys… Continue reading Tetraktys in Neon

For Béla

Contrary to what its name suggests, For Béla was not originally intended to pay homage to Bartók. The title was given after the completion of the piece in light of the increased reliance on the Axis theory of Ernő Lendvai, a musical concept used to analyze the music of Béla Bartók. Axis theory manifests itself… Continue reading For Béla

Ritual no. 1: Ascension of the Primes

Ritual no. 1: Ascension of the Primes is a 5 movement audio/visual composition for computer and a human soloist. The piece begins in 3-limit just intonation and gradually adds prime numbers with each movement, finally ending in 13-limit just intonation. Originally conceived as a purely musical work, Ritual no. 1 was composed from October of… Continue reading Ritual no. 1: Ascension of the Primes

Probably Blue

Probably Blue is a fixed media work realized in Max/MSP. It is written in 7-limit just intonation and is comprised of 3 overlapping timbral layers: an FM synthesis ostinato, filtered cello drones, and delayed trumpet samples with ring modulation. Multiple parameters of the FM and trumpet sounds are governed using probabilities including spatial placement, inharmonicity… Continue reading Probably Blue

Reflection no. 2

Reflection no. 2 was composed for the 2020 Cazenovia Counterpoint Festival in Cazenovia, New York. It was premiered at the Rising Stars concert on July 28th, 2020, a program which featured young, award winning performers. Reflection no. 2 for Flute and Piano is a continuation of the sound world of Reflection no. 1 for piano… Continue reading Reflection no. 2

Reflection no. 1

Reflection no. 1 for solo piano was constructed with two interval sets which are also tied to two distinct characterizations. The piece includes something of loneliness and solemn reflection in the space which pervades it. It also hints at an agitation, which bursts forth in the middle of the piece before sinking back beneath the… Continue reading Reflection no. 1

Reed Quintet no. 1 ( Reading by Akropolis Reed Quintet )

Reed Quintet no. 1 – Reading by Akropolis Reed Quintet

Reed Quintet no. 1 was a piece composed in the Fall of 2019. It was composed in contradiction to what had been my usual process – a process in which pitched materials were generated through highly determinate ordered pitch-class sets. Each movement began as one of these “process pieces.” However, after composing each movement systematically,… Continue reading Reed Quintet no. 1 ( Reading by Akropolis Reed Quintet )

and Mary Danced on Back of the Terrapin from Ritual no. 1 (Ascension of the Primes)

This is a recording of the third movement of Ritual no. 1: Ascension of the Primes, titled and Mary Danced on back of the Terrapin. Scored for for voice and electronics this movement of the piece is set in a 7-limit just intonation tuning. The electronic sounds were created inside of Max using FM and… Continue reading and Mary Danced on Back of the Terrapin from Ritual no. 1 (Ascension of the Primes)

The Body Where I Was Born

This is an interactive piece for trumpet solo or duet and computer (Max/MSP) in 11-limit just intonation. The live performer(s) play improvisatory material governed by a performance algorithm. By means of a frequency follower the live performers can trigger samples stored in the computer which were recorded by Professor Leonard Ott in the Owen Hall… Continue reading The Body Where I Was Born