My work extends from the experimental music tradition and exists in the space between diverse artistic practices. I start with a concept about sound/performance and the resulting score is a relic of my ideas. I use multiple methods of notating my compositions: prose and fragmented language, painting and drawing, montage, the cut-up method, and traditional hand drawn marks using conventional, spatial, and contemporary notation techniques. My indeterminate performance scores are visual representations of sound that deconstruct traditional forms of musical notation, or sometimes develop new representations in order to achieve equilibrium between composition and spontaneity in performance.


List of Work

Solo:
Devil’s Door (in progress) solo for extended range glockenspiel/voice. Commissioned by percussionist Trevor Saint.

Steal Into the World (2013) A litany for solo for voice, to be performed with a print installation of the same title. Created in response to artist/writer Paul Mitchell's body of work Is This Darkness in You Too?. Commissioned by Paul Mitchell.

Fragility of Permanence (2009) solo for upright bass/voice. Commissioned by Jason Hoopes.

Three Portraits for Trombone (2008) solo for trombone/voice. Commissioned by Andrew Strain.

Ink Makes a Sound (2008) solo for cello

Genesse Lake (2006) solo for piano


Ensemble:
You Burn Us (in progress) a painted score for piano, cello, and upright bass. Can be performed as an ensemble piece or as individual solos. Commissioned by New Keys.

This is called breathing (2012) for clarinet, violin, cello, and piano. Commissioned by Unruly Music.

Acedia (2012) for mezzo-soprano, viola, and percussion (with or without dancer). Commissioned by Present Music.

Say Somethings (2008) for two female voices, alto saxophone, violin, upright bass, electric guitar, percussion, and drum kit (with or without dance)

Play With Me Then Discard (2008) for any instrumentation

Fucking Up the Status Quo (2007) for female voice, violin, and percussion (with or without dancer). Commissioned by Emily Packard.

Patet is a feeling is a pateT (2007) for gamelan

Sensurance (2007) For several performers, bows (traditional bows, e-bows, etc.) and objects with intense sentimental resonance

(un)focus (2006) for flute, trombone, tenor saxophone, female voice and upright bass


ElectroAcoustic:
Cowboy Mouth (2010) for laptop orchestra (with or without live processed voice and pitched instrument). Commissioned by MiLO–Milwaukee Laptop Orchestra.

Brazen + Bruised (2009) for live-processed female voice, and ¾ violin

a bit of nostalgia (2007) stereo fixed media

Dis-communication (2007) for any performers in duets with electronic media


Conceptual Series:
Xerographic Variations (2011-present)

Impressions: First Impression, Second Impression, Third Impression, Fourth Impression, Fifth Impression (2007) for any performers


Dance:
My Lipstick is the Color of Your Heart (2012) duet for movement and vocal artists created in collaboration with movement artist Laura Murphy

Fragments for the Space Between (2011) I created this piece for solo voice with a stereo fixed media field recording as a guest composer and vocal artist with Debra Loewen's Wild Space Dance Company for their interdisciplinary production In the Space Between


Film:
Studies in Space (2012) a short film by Tate Bunker, music composed and performed in collaboration with Seth Warren-Crow




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