Irradiance (video, 5.1 electronic tape, 2007)
The original source for the video was created with window blinds, a fluorescent light, and a cooking pan full of coffee and oil. The light, passing through the blinds, would wrap around and envelope the bubbles of oil. The movement of the synthesized sound is meant to capture this quality. As the light approaches a limit point, so does the sound.

Drop (water wheel, live electronics, 2006)
Sounds of dripping water are re-synthesized into streams, waves, waterfalls, and more. What do the synthetic versions of these natural occurances sound like, and how do the simple drops of water transform into them? (continued)

511 second chat (electronic tape, 2005)
This piece, written for dance, was created entirely out of a recorded conversation between myself, the dance choreographer (Lee-wei Chao), and an instrumentalist. No outside samples or instruments were used, but rather new virtual instruments were constructed out of the recorded voices.

Four Pillars - Fractal Construction No. 2 (orchestra, 2006)
The melodies and harmonies found in this piece were created from an algorithm which creates melodic fractals. The algorithm takes a single melody, and interpolates new melodies to be placed on top of it. Each interpolation replaces every note with a scaled, transposed version of the original melody. The recording is a reading by the UWM student orchestra, directed by Ron Foster.

Fractal Construction No. 1 (Disklavier, 6 channel electronic tape, 2005)
Described to me as 'pianos coming from everywhere,' this was the first piece I wrote using my fractal MIDI algorithm. The Disklavier and electronics play the same MIDI notes at the same time. The virtual instrument used in the electronics was created out of recorded samples of a piano rehearsing Beethoven and Brahms.

Coloring Book for the Harp (harp, live electronics, 2005)
Written by Yehuda Yannay in 1969, this revisiting was a collaboration to add new electronic elements to the piece. Samples of the harpist (John Manno), who plays the instrument with combs, were used to design the electronic accompaniment. Video by Dale Kaminski also reacted to the harpist in real-time.

Vocal Work No. 3 (4 channel electronic tape, 2003)
Another piece composed entirely from voice samples and no outside synthesizers, Vocal Work No. 3 explores movement through space through four-channel panning. The piece was commissioned by the recorded alto singer, Jennifer Proulx.