Lights will find you for alto saxophone, lighting design, and live processing

Commissioned by a consortium lead by Taiki Azuma, Joshua Heaney, and Robert Hess. Learn more here...

Left Shark for tenor saxophone

Commissioned by Dillon Hirsch

Left Shark is a piece that speaks to universal themes of identity, passion, and selfhood. This programmatic work brings us through Left Shark's journey to become the dancer he was meant to be. Left Shark's odyssey is told through three movements - Shark Attack, Shark Lament, and Shark Dance.

At the Edge for soprano saxophone and fixed media

Commissioned by Steve Stusek

Chamber Music/Large Ensemble

On this day (multiple versions)

For the quiet extraordinaries, and unfanfared passages of life.

On this day for SATB Saxophone Quartet

On this day for Saxophone Ensemble (SSAAATTTBB)

Saxophone Ensemble version commissioned by Matt Sintchak for the UWW-Whitewater Saxophone Studio. Please contact me to inquire about purchasing parts.

Forest Cathedral (SATB Saxophone Quartet)

Commissioned by the Ancia Saxophone Quartet

Forest Cathedral is about the sense of awe one has walking into a forest, and how the sensation is not unlike walking into a holy space. It is my hope that listeners might find themselves drawn into the beauty of the sound as if transfixed by a beautiful place, and that their wonder might direct them toward a greater respect of the impact of trees in our world.

Please contact me to inquire about purchasing parts.

Rosie the Riveter for Wind Quintet+Saxophone

Written for the Women’s Wind Ensemble, 2017  

Three Movements: “We Can Do It,” which borrows its name from the famous campaign slogan, is generated from gestures that are either active or decaying. The movement features many stark contrasts, and is meant to convey a mechanical sound.

“Can You Use an Electric Mixer? (If so, you can learn to use a drill)” is built off of the interplay of two motives, which represent, of course, a mixer, and a drill. The two energetic motives combine and interweave.

In Rosie’s song written by Redd Evans and John Jacob Loeb, she earns a “Production E,” which was a ranking given during the war to companies that achieved “Excellence in Production” of wartime equipment. This movement borrows a short motive from the song as a backdrop for several improvised solos – the ultimate symbols of independence and self-sufficiency.

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