As We May Think (2014)

As We May Think is a percussion solo for multi-keyboard (marimba/vibraphone) and electronic playback. It was premiered in February 26, 2014 at the University of South Alabama Laidlaw Performing Arts Center by percussionist Nick Stange.

This work is inspired by an article by the same title written by Vannevar Bush, an American engineer, inventor, and scientist, which first appeared in The Atlantic in 1945. In it, Bush predicts many modern day technologies such as personal computing, hypertext, the internet, and Wikipedia (interconnected, searchable encyclopedias). Bush also discusses his concerns with the direction of scientific efforts towards destruction, rather than understanding and suggests a machine, which he called the Memex, that would combine lower level technologies to achieve a higher level of organized knowledge.

The spoken component of the playback audio comes from an interview with Vannevar Bush. A transcription of the statement reads:

…and the relations, the resemblances between the brain’s operations and the operations of a modern analytical machine, is a fascinating aspect of it.

As We May Think was commissioned by and is dedicated to Nick Stange.

Outside, Looking In (2014)

Outside, Looking In, a piece from my series called Lines, is a short work for solo piano. Through the use of duration line sets, this piece features layers of single line fragments that segue and weave between one another. Each duration line should fade in and out as they enter and exit. The general dynamic level should be soft and somber, never reaching above mezzo-piano or so.

Outside, Looking In was composed for pianist Nicolas Horvath and his Glassworlds project.

Route (2014)

Route, a piece from my series called Lines, is a solo work for alto saxophone and electronic playback. Through the use of duration line sets, this piece features layers of single line fragments that segue and weave between the “pulse” line found in the electronic playback component.

This work is loosely based on and inspired by a Emily Dickinson poem.  The short poem is titled A Route of Evanescence and in it she details how mesmerizing a hummingbird can be during flight. The poem reads:

A Route of Evanescence,
With a revolving Wheel –
A Resonance of Emerald
A Rush of Cochineal –
And every Blossom on the Bush
Adjusts it’s tumbled Head –
The Mail from Tunis – probably,
An easy Morning’s Ride –

The quick movement of the hummingbird is evanescent, a word which can be defined as “soon passing out of sight, memory, or existence; quickly fading or disappearing.”  The bird’s flapping wings are so quick that they give a viewer the illusion of spinning wheels and the vivid colors of green (emerald) and red (cochineal) are a blur of the floating creatures body.  Flower blossoms appear to follow the hummingbirds every movement and this marvelous creature is so physically breathtaking that it is as if it traveled from Tunisia.  But, while Dickinson looks on in awe, this is just ordinary day for the hummingbird.  In this composition, you might consider the saxophone to represent the hummingbird and the electronic playback to serve as the creatures surroundings.

Route was composed for and is dedicated to saxophonist George Weremchuk.

Concertante (2011)

Concertante is a solo for multi-percussion and electronic playback. Premiered in September of 2011 at the Accidental Music Festival.

The below audio recording and video performance is from the premiere. Slight changes have been made since this performance.


Passages (2011)

Passages, Book I is a collection of four-mallet marimba studies that are designed as early literature for emerging students. They are intended to aid in the development of musicianship through technique.


OPEN/shut (2010)

OPEN/shut is a solo for multi-keyboard (marimba/vibraphone) and was premiered on March 3, 2010 at the University of South Florida.


The below recoding is a live performance by Kevin Raab from his senior recital at the University of North Texas:


This video features Theodore Jackson, a student in the UCF Percussion Studio: