Actuate/Resonate (2018)
large ensemble with electronics

Lines on Black (2018)
for voice, flute, violin, saxophone, piano, percussion, and electronics

binary/momentary iii (2018)
cello and electronics

for Delia Derbyshire (2018)
bass, guitar, and electronics

Matrix for George Lewis (2017)
2 electronic silent brass trombones

Seven Systems (2015)
2 piano, 2 percussion quartet with electronic playback and actuated snares

binary/momentary logics: flow state/joy state (2016)
String quartet

binary/momentary ii: flow state/joy state (2017)
Trumpet, 2 trombones, piano, and percussion

delay/line (2016)
Flute and delay line

Points Against Fields (2015)
Bassoon and playback

Broken Symmetries (2012)
Violin soloist, feedback electronics, flute, tenor saxophone, piano, and percussion

Chain Reactions/Five Events (2013)
String quartet and live electronics

Machine Language (2012)
Percussion soloist, 2 percussion, 2 violins, 2 bass clarinets, accordion, and fixed sine tones

MODULES (2014)
Brass quartet, percussion, analog synthesizer, and live electronics

hydra (2015)
Violin, piano, fixed media, and live electronics

Four Sixes (2014)
Percussion Sextet

Sixty Cycles (2013)
Sopranino saxophone soloist, feedback televisions, violin, and cello

Portraits/Self Portraits (2011)
Violin soloist with large ensemble

ATD V (2010)
Saxophone and electronics soloists with small ensemble

Tile Mosaic (after Chagall) (2010)
Two pianos, two percussion, and resonant pails

Standing Waves (2009)
Medium sized ensemble and electronics

Matrices (2009)
Percussion trio and electronics

7:6 (2006, rev. 2010)
Distorted, amplified cello

Lyra (2007 rev. 2010)
Amplified string quartet

Signal Flow (2009)
Percussion quartet and electronics

Distorted, amplified cello and drumset

American Tokyo Daydream IV (data structures/monoliths) (2007)
Saxophones, electric guitar, and accordion

A Circle of 8 in a Prime of Primes for Sara (31), by Sam (29)
Sheng, pipa, suona, handbell choir, and live electronics

American Tokyo Daydream III (The Surprise) (2006)
Piano, string quaret, and live electronics

noise + mobile (2005)
Piano and electronic playback

Rage Thormbones

Matrix (for George Lewis) (2017) for two muted trombones controlling electronic sounds
Matrix is my most radical piece. Scored for two trombones and electronics, the listener never hears the acoustic sound of the trombones during a performance. Instead, using audio recorded by silent-brass mutes attached to each instrument, I use music information retrieval techniques to transform the two trombones into audio-based controllers. Data retrieved from live sonic analysis is used to control digital synthesizers, which are played through speakers.

There is no notation beyond descriptions of each section of the music, yet performers are able to execute the work exactly as I desire without my verbal input. Why? Matrix fits in a tradition of works spearheaded by electronic music pioneer David Tudor, where a work, rather than consisting of notes on a page, which guide the performer to execute the correct sounds at the correct time, consists of a system of circuitry which constrains the performer to create sounds within a bandwidth of possibility. Each section of the piece provides a different system of algorithms for the players to interact with. By only reacting to specific inputs, the software limits the kinds of playing that are possible in any one section. Through practice and study, the players learn how to interact with the software and thus how to play the work.

I have provided the score and software code below.

link to full score and code