Me performing "Left-Handed Paths" at the annual KISS conference in Santa Cruz, September 2018. I use pitch and velocity tracking to manipulate generated sounds and trigger prerecorded samples, while the flutist's right hand uses Kyma Control on the iPad to alter reverb, panning, and other effects.
Argus Quartet performs "This Is My Scary Robot Voice" at WQXR's Midday Masterpieces concert series, at the Greene Space in September 2017. The players play rhythms as though speaking sentences written throughout the score, sometimes like a natural speaker and sometimes in a "scary robot voice."
A physically demanding piece for solo tenor sax. Commissioned and premiered by Nathan Mandel, University of Illinois, September 2016.
Poem by Jennifer L. Knox. From my song set "Four Jennifer L. Knox Songs". Recorded by mezzo-soprano Jennifer Beattie, pianist Adam Marks, and flutist Margaret Lancaster.
For mixed sextet, written for and performed by Alia Musica Pittsburgh, October 2010.
For thirteen players including winds, strings, harp, percussion, and brass (doubling whirligigs). Performed by Alia Musica Pittsburgh, 2013.
A saxophone quartet commissioned and premiered by the H2 Quartet and featured on their eponymous album, released in the spring of 2019.
A piece for any group of at least five instruments, where players write edits on other players' parts.
Charles Corey plays Harry Partch’s Guitar I, along with intoning voice; text is from multiple translations of the famous furu ike ya haiku by Basho.
Commissioned and premiered by Altered Sound Duo, percussionist Nick Fox and saxophonist Chris Murphy. This piece features amplified ceramic tiles and wineglasses, so there’s a reasonable chance of stuff breaking in each performance.