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Compositions


Battle Hymn for the Reformation (2026)

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Instrumentation: Piano Trio c.a. Description Written as a style study focusing on Alberto Ginastera, I use the hymn "A Mighty Fortress is Our God" and reimagine it based on it's nickname, "Battle Hymn of the Reformation." Throughout the piece, I take the melody and reimagine it in a more active rhythmic and harmonic landscape.


Doubly Broken Koleidoscope (2026)

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Instrumentation: Woodblock, Xylophone, Marimba, Guitar c.a. Description Written as a style study focusing on Steve Reich, I use his repetitive, slowly changing style as a baseline and tweak it slightly to explore different rhythmic ideas with an anchoring pulse by the woodblock.


Diminishing Divisions (2026)

Instrumentation: Flute, Clarinet, Bassoon, Horn, Marimba. c.a. Description Diminishing Divisions explores the idea of a "diminishing division" of the beat played by the marimba (it starts at a sixteenth note division, before moving on to an eighth note division, then a quarter note, diminishing the "speed" of the pulse). While this happens, the winds match the intensity of the pulse, starting with shorter, faster ideas before transitioning into a more "pastorale" feel to end the piece.


Sonata for Piano and 2 Saxophones (2025)

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Instrumentation: Soprano Saxophone, Tenor Saxophone, Piano c.a. Description What began as an assignment based on sonata form for a class during my graduate studies, transformed into a piece that experiments with the idea of modal contrast to create contrast in sonata form. This piece was premiered as a part of a presentation on sonata form for the SPARK symposium in 2026.


3 Scenes for Chamber Ensemble (2025)

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Instrumentation: Flute, Clarinet, Bassoon, Horn, Trumpet, Trombone, 2 Percussion*, 2 Violin, Viola, Cello, Bass. Percussion List: Triangle, Castanets, Sus. Cymbals, Snare, Glockenspiel, Marimba *Percussion parts are optional c.a. Description The initial ideas for 3 Scenes for Orchestra began shortly after interviewing at Belmont. This entire work was shaped and molded throughout my 2 years during the program, and reflects my growth during my studies, both as a student and a person. The first movement is the closest to the original idea I had for this piece, which was to be a reflection of Psalm 32. The original material was heavily inspired by Lili Boulanger, but as the idea morphed, my own personal voice began to take over. The main idea that ends the movement was written while spending a weekend in Gatlinburg and was written during a sunrise, hence the name Mountainside Sunrise. The second movement, Seeking Tranquility, also derives from the original Psalm 32 sketch, but then expanded into its own movement. This movement reflects an evolving stream of consciousness, simply wading and passing by, never looking in depth into ideas as it goes along. After the attacca, Building Momentum was completely synthesized during the spring of 2025. At the time, I was writing a lot of music that featured repeated notes in the melody as a way to play with the sense of propulsion in melodies. The work was originally written for a full orchestra, before being rearranged to fit a small chamber orchestra.


Doxology in E-flat (2025)

Instrumentation: String Quartet (Also for Piano, Horn, Trumpet) c.a. 6' Description Born from a style study about Arvo Pärt, I take his "tintinnabuli" idea and stretch it to include more tones than basic triads. Loosely following this idea, I take the basic "Doxology" prayer that I sang growing up during meals at church as the melody, and break it up into chunks. This idea is repeated three times, with the accompanying lines becoming more complex until the end of the piece.


2 Motifs for Wind (2025)

Instrumentation: Flute, Oboe, Clarinet, Horn, 2 Bassoons. c.a. Description This piece is based off two (formerly three) motifs I was playing around with, but could not find use in their intended pieces. The first movement was based off of a trumpet and piano sketch from 2024, called "Scamper for Piano and Trumpet." The second motif is from a movement from a Piano Concerto I had written during my undergraduate degree (~2020). The opening statement is verbatim how the movement had started. In this piece, I explore developing these ideas further, and letting them spiral out, similar to a stream of consciousness.

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