Deconstruction Principles (2016)

for two percussionists: four toms and two glockenspiels with live-triggered audio and video playback.

Each drum has a trigger. Each trigger opens a gate. Each gate turns up the volume on a playing audio track. It’s like punching holes in controlled static. Written for Michael Garcia.

Bomb Track (2015)

for solo percussion and live-triggered audio playback.

Each drum has a trigger. Each trigger opens a gate. Each gate turns up the volume on a playing audio track. It’s like punching holes in controlled static. Written for Joseph Van Hassel.

CPU (Opera)

CPU (A post-apocalyptic electronic opera for the end of the world, in one act.)

Prologue:

‘Imagine the prison of repetition
A pitch-perfect perpetual misery
Awaiting each player ignition
Is a blanket of unusable memory’

Blowback (and other mishaps) 2013

for percussion quartet and roaming click track.

Recreating digital effects through acoustic phenomena, each performer’s computer-controlled click track moves ever so slightly to mimic reverb, flanger and reverse-delay effects live. As the piece plays out, these effects are varied and enhanced to sustain concisely out-of-phase relationships between each player (very close relationships create stutter effects, while longer phase distances create sweeping reverb tails). Written for Mangobot.

Revolver (2013)

for solo glockenspiel and 6-channel delay.

Glock and computer outputting directional delay lines through speakers placed around the audience. Based on music by Rage Against the Machine. Written for Brett William Dietz.

Revlover [REMIX] 2013

My solo, Revolver, reversed, then fed through the machine backwards one section at a time is Revlover [REMIX]. Think ‘Memento’ for your ears.

from poison (2013)

for any keyboard instrument and six audio playback devices.

For soloist speaking and performing with offstage piano and six-channel audio playback devices surrounding the audience. Based on music and text by Jeffrey Moreira & Poison the Well. Written for Daniel Heagney & Anne Rainwater.

Propaganda (2012)

for muted glockenspiel and soprano saxophone.

If you repeat something long enough, no matter how absurd or nonsensical, people will eventually believe it. Written for Brett William Dietz & Griffin Campbell.

Trucks (2012)

The construction vehicles in Harlem emit this wild, bending pitch – especially in the wee hours of the morning. This was my rebuttal.

Little Drummer Boy (2011)

As part of Mantra Percussion’s Holiday album, “Mantratron Saves Christmas”, I rewrote my mom’s favorite holiday jingle with broken microphone cables and pennies taped to glockenspiel bars.

So I could not send answer (2011)

for two cellphones and computer.

Both performers use amplified cellphones to text poetry back-and-forth as a randomized audio track unfolds to overwhelming volumes. Written for Police Academy (Mike Perdue & Mariel Roberts).

When the Lights Change (2010)

for two singers, toy piano and video cues.

Players react to randomized video projections with assigned stage tasks while performing music material based on Ravel’s Gaspard de la nuit. Written for the Ekmeles Vocal Ensemble.