The Complete Catalog of My Graphic Works
Three Movements for Recital Hall (2012)
Written specifically for the recital hall at Southern Oregon University, Three Movements for Recital Hall makes use of the variety of curtains, doors and the orchestra pit to turn the hall itself into an instrument. Composed in a symbol-based notation with a simple timeline format.
Seventy Years of a Broken Heart (2012)
A large scale work composed on a 56′ long paper scroll for narrator and any number of players. Open Instrumentation. A contemporary medley of pop music’s greatest hits. Score available from APAKA Music. Ink on rice paper.
Abraham Remixed (2013)
For any number of players on unspecified instruments. Abraham Remixed is based on the words spoken during a conversation between God and Abraham as presented in the first verse of Bob Dylan’s Highway 61 Revisited. The scores are meant in inspire a structured improvisation. Score available from APAKA Music. Ink on paper.
Contactual Constellations (2014)
For 2- 6 players, Contactual Constellations features graphic musical scores manufactured onto bass drum heads, played upon by the performers, captured in real time and projected for the audience to see. The “sheet music” version is also available from APAKA Music. Ink on paper.
Ashland, Oregon (2016)
Commissioned by percussionist Adam Lion and the Oregon Fringe Festival. The score consists of a series of panels inspired by and depicting different areas of Ashland. Performers are encouraged to respond to the score utilizing any aural or visual means they deem appropriate. Score available from APAKA Music. Ink and pencil.
Quarantine Scores #1-#5 (2020)
This set of 5 scores, composed at the onset of the COVID-19 Pandemic, marks my first departures from a purely black and white notation style. Ink and pastel.
Aggregate Remixes (2020)
Aggregate Remixes is a sonic collaboration designed to create music while working remotely and independent of one another, and also being able to use whatever “instruments” are at hand. Each performer records their own interpretation of a brief graphic score from a collection of 21 different scores, each designed to be 60″ in length. Then each performer takes the aggregate submissions and arranges them together into a new recording, selecting the order in which they’re heard and how they’re layered on top of each other. Ink and colored pencil.
Melodic #1 (2020)
For 1, 2 or 4 players on any instruments. The ambiguous staves are realized under the influence of the surrounding material. Written for Mitchel Carlstrom. Pastel and Ink on paper.
Mr. Muir’s Garden (2020)
Commissioned by Seam Muir in the Summer of 2020. An “abstract flower bouquet”, with alien overtones. Ink and colored pencil.
Kennedy Scribbles (2020)
For mallet quartet. Completed on the the day my niece Kennedy was born. Ink and pastel.
all that remains… (2020)
Composed in the aftermath of the September 8th, 2020 Almeda Fire in Southern Oregon. In which my family’s home and most of the scores listed above were lost. The score was created using ash and charred remnants of our home. Performance can be found HERE.
Color/Shape/ Texture/Form (2021)
Composed for Boyce Jeffries. A nine page work for solo vibraphone. Winner of top recognition from the first annual Vibraphone Project call for scores. pictured: page 7of9
Rhythmic #1 (2022)
Commissioned by Parker Stockford. For solo drum set. Ink and pastel on paper.
Relative Dimensions (2022)
Commissioned by Jared Brown. A series of scores performed in an indeterminate, yet proportional manner. Ink and pastel on paper.