Other Works

CM,G,F,F (2012)
Live recording, performed at Mills College Spring 2012
This piece was a result of several ideas I’d been working on for some time coming together. The sound source for this piece is two piezo discs taped together, one of which is used as a driver and the other as a microphone, placed into a small plastic container, with an additional piezo used as a microphone taped to the outside of the container.The sound from the two microphones is fed back into the driver, creating a feedback loop. Initially the sound heard is just pure feedback, controlled only by changing the gain on the mics and the volume of the output. Gradually, the feedback is fed through gates and filters, using a Max/MSP patch, which are controlled by a step-sequencer. I attempted to create something like synth-drum sounds out of the feedback only by gating and filtering it.The step-sequencer is actually several step-sequencers combined, one with 16 beats, one with 15, and one with 11. Each sequencer has the same pulse and triggers the same set of gates and filters, but the overlaying of different meters creates a complex, changing but nonetheless regular rhythmic pattern.At the end of the performance, I fade out the sound going to the speakers, so that the contact microphones and drivers can be heard very quietly in the actual performance space. This is audible in the recording if you listen very carefully to the end.

MoS-6sw+A320 (2011)
stereo electroacoustic recording
Performed and recorded on an airplane trip from Vancouver, Canada to San Francisco. I had a trip planned to Vancouver, and decided to try to create a piece using my laptop for the airplane ride. The flight is fairly short (about 2 hours each way), so I didn’t have much time to work anything complicated out. On the trip there I tried a variety of different ways of manipulating the airplane sound, but since that sound was so loud and omnipresent I found it difficult to do anything effective.For the return trip I decided to play sine wave tones from my computer which would interact with the loud airplane engine drone. I figured out the pitch of the dominant tone of the airplane (about 600hz) and tuned sine waves near that tone to create beating. Individual sine waves faded in and out over the span of the recording. This created a barely perceptible beating in the space, which may have been somewhat audible to nearby passengers as well but probably only if they knew to listen for it.This piece was recorded using a Zoom H4 recorder with its built-in microphones.

BE(TPr->v1) (2010)
stereo electroacoustic recording
Created using a MaxMSP patch similar to the one used in Target Practice (2009), various instruments were recorded with a patch which monitors the pitch, and immediately stops recording whenever the pitch changes even slightly. Using this method, a number of long, glitchy, unpredictable drones were created, and then mixed down into this final piece. This is part one of possibly more parts to come.

Target Practice (2009)
for any instruments and laptops
A pseudo-sequel to Party Favours (2007), players must match pitches randomly chosen by the computer and play them exactly for a certain length of time. Once completed, the computer plays back recordings of the pitches. This recording was performed by four performers on slide whistles, at the 2010 West Coast Student Composers Symposium.

TaCG(CPVV) (2009)
for Clarinet, Piano, Violin, Viola
A reverse-additive piece, each line has the same material, played in unison at the end. This recording recorded at 2009 SFU Spring Concert.

Party Favours (2007)
for any number of performers and prepared recorders
An instructional process piece in which performers inflate a balloon at the mouthpiece of a cheap toy recorder and deflate it as slowly as possible. This recording was performed by four performers at the 2010 West Coast Student Composers Symposium.