Compositions
Instrumentation and Program Notes
Threads of the Moment (2019)
Quartet for Mezzo Soprano, Bass Clarinet, Cello, and Piano
This piece was my Master's Thesis at the University of Iowa and the first movement was premiered by the esteemed ensemble Accroche Note. The basis of the piece came from this thought: just as a strand of thread is composed of many smaller threads, so too are there many factors in a single musical moment.
Threads of the Moment explores three of these factors: the roles of composer, performer, and listener.
The first movement “Composer” seeks to reflect the often messy and disorganized compositional process. Contrary to popular belief,
it is not as simple as putting notes on a page and calling that "music.” To compose one must explore and experiment with every sound,
big or small, and find the beauty in each so that those sounds can be brought together. There are times where the sounds blend and
complement one another, but at other times they create sharp contrasts and dissonance as the composer seeks to find music within the
chaotic exploration.
The second movement “Performer” explores the idea of a performer being one who interprets and presents the music of the composer.
However, while the performer does play based on the composer’s intentions and instructions, there is also room for interpretation. A
performer brings new life to a piece by discovering new potential within it and adding his or her voice. To reflect this the cellist acts
as the composer, at first leading and inspiring the bass clarinet as the performer, but later the bass clarinet starts to branch off and finds
its own interpretation of the melody that it expands on.
The final movement looks at the role of listener not only in regards to the audience, but also to the performers themselves who listen to
one another’s parts. No one hears the music the exact same way and there are times when a listener is fully engaged, but other times
the listener begins to “drift” and lose themselves in the music. For this movement this is reflected in the clarity of certain sections in
regards to melody that fractures and enters into hazier sections where the performers are in their own worlds, and it ends with one last
thought from each of them.
Grief's Spectrum (2019)
Double Bass Solo
Commissioned by performer Alexander Ferkey, this piece focuses on the chaotic emotions involved in grief.
There are various reasons for why a person may experience grief because there are many losses that are suffered. The depth of emotion felt from that loss creates an extensive range or "spectrum" of feelings. Grief is not a stable, passive emotion, but instead one that is sporadic and unstable. It cannot be ignored, quelled, or controlled, and any attempts to do so often end up causing even more pain. Grief has to be faced and fought to find a measure of healing and acceptance, a struggle which can last a lifetime. This struggle is represented in the shifting of moods: agitation that gives way to depression, bitterness growing into a boiling anger, and a rupture of chaotic emotions that lead to calm relief, though not complete acceptance.
The purpose of the piece is not to poke fun at grief or imply that it can be contained within a composition; rather, it is meant to be a reminder that all people at one point or another suffer some kind of grief, and there is no shame in having to fight through grief.
Jigsaw (2018)
Double Bass Solo
This was written for the 24+24 concert where composers paired with random performers had 24 hours to write a composition and the performers had 24 hours to learn and perform that composition. Though short, I sought to explore with sounds and incorporated techniques like col legno battuto, pizzicato, and a double stop sustain with moving notes above. I treated the techniques as "pieces" and alternated between them, creating what I considered to be a jigsaw puzzle of sorts. Gradually these "pieces" come closer together and a couple new techniques are introduced near the end.
Resolute, Razed, Redeemed (2018)
Countertenor solo
In vocal music I have always loved the use of text painting and creating a story with the music, which is what I strived to do in this work with simple yet emotional melodic lines that follow the text. All three pieces are based on biblical women with incredible stories, sometimes stories that are sadly overlooked or glossed over.
The inspiration for the piece "Ruth" comes from the power and resolve behind her words to her mother-in-law Naomi when Naomi tried to get her to return to her people the Moabites since her son, Ruth's husband, had died. Ruth was determined to stay with Naomi, even if it meant giving up her home, family, and people. I have always loved the words she said to Naomi, so the piece focuses on her resolve, the promise she makes to Naomi to stay by her side even to death.
The context behind the text for "Rachel" is a bit different; instead of focusing on her words it actually focuses on a prophecy she is mentioned in that eventually is fulfilled when King Herod ordered all boys under the age of 2 to be killed in an effort to get rid of the "King" (Jesus) he heard had been born. The text talks about "Rachel weeping for her children," and the grief and bitterness that the mothers of those many baby boys must have felt is what inspired this piece, which is why it goes from sorrow to anger to defeat. Grieving someone creates powerful emotions in us, sometimes pure sorrow, sometimes anger at the injustice of it, and then defeat at the fact that we can't change what happened, only strive to work through that grief.
The story of "Rahab" has always touched my heart, the choice she made and how that faith helped her to save not only herself but her family as well. Even though she knew the danger of helping the Israelite spies, she still chose to hide them, then helped them escape the city knowing what their God would do to Jericho. In return for that kindness she makes a simple yet heartfelt request, a plea for mercy on her and her family, and she acknowledges that the God of Israel is the one true God, showing incredible faith. In my mind she's pleading with them, but there is also a wonder as she finds faith in God, a realization and joy in finally knowing Him.
Neither Rhyme Nor Reason (2018))
Viola and Oboe duet
What is fascinating about this piece is the compositional process behind it. Usually when I compose I begin with an image or idea, in essence the purpose and soul of the piece, and then move to composing the actual music elements. However, this is the first piece I have written that used specific processes and contingencies both to generate materials - for example, pitches, harmonic structures, and rhythmic placement - and to provide form and order to them. The idea behind each of its four movements was to combine two techniques or forms. "Paocket" is the combination of "pass" (instruments "pass" off the melody line or motives) and "hocket" (one instrument plays while the other has rests). "Canolo" is the combination of "canon" (imitation of melodic material) and "solo" (when an instrument is featured with a unique melody). "Scherzuel" fuses a "scherzo" (an often light and playful musical movement) with a "duel" (a fight between two people). "Revelagments” combines "revelation" (dramatically revealing something that was previously unknown) and "fragments" (pieces of an object, in this case the previous movements). Overall the piece explores different types of interaction between the instruments, which seem sometimes to support or inspire, and at other times to sabotage one another.
Envisioning (2018)
Max MSP Patch
In my Masters studies I began to explore electronic music. Before I had not been exposed to it and was unfamiliar with the programs that were used. However, through one of my courses I was introduced to Max MSP, a visual programming language. As I grew more comfortable with the layout I became fascinated by not only the sonic capabilities, but also the visual capabilities of the language. When I hear a sound I am instantly intrigued by how it was made, and often an image comes to mind. That is what inspired me to write this piece where, based on the electronically created sounds, I tried to create a visual to match or compliment the sound.
A Mother's Love (2016, 2018)
Soprano Voice with Piano (2016), Wind Ensemble (2018)
Originally written as a soprano solo with piano accompaniment, I later revised and re-orchestrated the piece for a full Wind Ensemble.
The love of a mother to her child takes many forms. It can be gentle, a hand slowly rocking a cradle as a mother sings a lullaby to her child. It can be unconditional, loving a child no matter how far he or she may wander. Yet, it can also be fierce, a determination to defend and protect from any threat.
Whatever form it may take, one thing is for sure: a mother’s love is not a simple, surface-level emotion. It is meant to be more.
Oblivion (2017)
SATB and piano
The text for this piece I created and translated to Latin myself. The English text reads as follows:
Sleep
The rest of forgetfulness
Lost in his heart
Wake up from sleep
Embrace the light
Fun Fact: This piece was inspired by a character from a popular video game franchise, and his story is told through the text.
Never Alone (2017)
Mixed Ensemble of Flute, Oboe, Bb Clarinet, Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Horn in F, Bb Trumpet, Tuba, Piano, Marimba, Violin, and Cello
Commissioned by my friend Robert Krause, this piece was written as a sort of senior farewell at Anderson University. The performance was done by performers who were dear friends of mine, and their involvement also contributed to the unique instrumentation of the ensemble.
The beginning has a forlorn, melancholy duet between the trumpet and horn, representing the sorrow of parting ways after graduation. However, as more instruments join in the piece shifts to a lighter, more joyful mood to reminisce the good memories that were made over the years. As the piece winds down and takes on a more bittersweet, somber mood, performers begin to drop out and leave the stage till the very last note is played by the trumpet. This is to show that even when we part with people, the memories we have made will stay with us. No matter where we may go or how far apart we are, we are still friends, so we are never truly alone.
Rondo (2016)
Woodwind Quintet
This piece follows a typical rondo form of ABACABA. The A and B themes are meant to be more lighthearted in nature, while the C theme acts as a heavier and darker contrast. Melodies are passed around the instruments, allowing the themes to experience development throughout. While at first glance it seems like a relatively straightforward piece, the challenge lies in the key changes and coordinating the different melodies through the sections.
Fun Fact: The inspiration for this came from a discussion about how we needed more fun and upbeat pieces for the quintet, but not classical style or arrangements of popular tunes. We wanted something contemporary written specifically for woodwind quintet, so I took on the challenge!
Storm Cycle (2016)
2 Pianos with 6 Pianists
Written for the Anderson University Piano Ensemble, this was one of my very first pieces. Each piano has 3 pianists, 2 on the keys and 1 on the inner strings.
The piece begins softly with light patterns like raindrops falling just before a storm. It grows in intensity at times to reflect how when a person views a storm, there are equal parts fear of the immense power and awe at the majestic beauty. It lightens up near the end to reflect the storm gradually moving away until it is peaceful and calm once again.
Masked (2015)
Piano Duo
This was one of the very first pieces I composed. It's a piano duo involving 2 pianists, each on their own pianos. The central theme was a quintuplet pattern that appears throughout, sometimes clearly stated while at other times masked and hidden among other patterns. This piece helped me to learn that when composing, one does not need mountains of ideas to create an intricate and interesting piece. A single idea has infinite possibilities: all the composer needs to do is explore and build from that idea.