"My choral music... with exception perhaps of a couple pieces, only one of which are really 'out there' to be found, they come from an early part of my musical journey. It's a place I hope to revisit, once I've spent some more time in the places I've been in the past several years. I'm trying to expand my vocabulary and my perspective, so that when I return to 'old haunts' I can exist in those spaces as a richer and more mature me.
My choral music is full of love for diatonic secundal harmony and clusters, shifting and opening and closing and ebbing and flowing structures, chords that move like melodies... ideas and idioms rooted in your Debussys and your Duruflés, and developed by your Lauridsens and your Whitacres."
"Ma'Miram, written in 2019, was written during my time at Northern Illinois University as a mid-term project for a course on music cognition. It was written under the influence of some writings by Leonard Meyer on principles of pattern perception in his book Emotion and Meaning in Music.
I sought to create an artificial folk-style of vocal music-- belonging to a fictional people group-- involving allegedly intuited conclusions about particular intervalic resonances with a droning note, and materialistically structured around the departure from and return to 'intervals of strong resonance'.
In addition to the musical style itself, I also developed the fictional language and the text for the piece with respect to Meyer's principles. Note the departure from and return to voiced and/or unvoiced consonants, and the frequent treatment of individual phonemes like "[m]" and "[ɒ]" as equal in the economy of musical sounds (which is distinct from the way we treat them in English, giving priority to the vowel sound instead of the consonant)."
"Sanctus, written in 2016, is a part of the earliest chapters of my journey as a composer. Voice is my main instrument, and choral music is where I fell in love with beauty and power of music in general.
Without a doubt, I am sure you can hear the influences of some of my favorite choral composers; as well as my interest in diatonic secundal harmonies and structures that shift and elide and open and close at both harmonic and melodic levels; shapes and idioms inspired by composers like Duruflé and the more recent Lauridsen and Whitacre."
"My Kyrie, or the one written for women in 2014 or so, has its roots in a Kyrie I wrote in 2011. Like Sanctus, it belongs to an early part of my journey as a composer.
My early influences show even more here. I'm not ashamed to admit or even appreciate these things today, so many years later. They were youthful exercises in my joy, and are little artifacts of the places I've been."