The music and lyrics of We Have a Choice were composed as a reaction to the COVID-19 crisis. The piece explore aleatoric and performer-based textures that can be sung remotely through video conferencing platforms, such as Zoom. The text explores our ability to choose our own paths and reactions in every situation, hopefully ultimately choosing to embrace the story with love, joy, hope, and peace.

The piece alternates between mostly-unison chant-like textures and aleatoric branching textures, in which the performers may choose their own path.

This piece is suitable for any Mixed-Voice Choir interested in exploring virtual singing and limited- aleatoric textures that give performers ownership of the material.

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  JANUARY started off with a commission from Dr. Joesph Ohrt for the Central Bucks High School-West Choir of Doylestown, PA. This was an exciting project for me because I had the chance to collaborate with poet, Charles Anthony Silvestri, who has written the texts for some of my favorite choral composers such as Eric Whitacre. … Continue reading My 2019 Year in Review

I Celebrate Life (the second and last movement of the Light Cycle suite), commissioned by Jennifer Gaderlund for the Graham Middle School Choirs, sets the beautiful poem by Rhoda Gordon, the composer’s late grandmother, for SA (SSA divisi) Choir and Piano. The piece opens with an excited yet hushed ostinato in the Piano. The Choir sings the first four lines of the poem by repeating the beginning line and adding the next line un.l it is complete, utilizing the modern technique of additive processes popular in Minimalism. In the more pensive middle section, the ostinato transforms into a more poignant texture as the Choir “realizes the joy of being through seeing the glorious creation” they are a part of. The ostinato then speeds up and returns to the hushed excitement heard in the opening. The piece concludes with the Choir building up to the most important line of the text: “The most powerful light to celebrate by is love.”

This piece is suitable for any Treble-voiced ensemble. It may be performed as a stand-alone piece or paired with Light Up as the complete Light Cycle suite.

Light Cycle was premiered on December 12, 2019 by the Graham Middle School Choirs conducted by Jennifer Gaderlund in Mountain View, CA.

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Light Cycle is a two-movement suite for Intermediate to Advanced Treble ensembles. The suite, commissioned by Jennifer Gaderlund for the Graham Middle School Choirs, sets two beautiful poems by Rhoda Gordon (Light Up and I Celebrate Life), the composer’s late grandmother, for SA (SSA divisi) Choir and Piano.

Light Up is the first movement of the Light Cycle suite. The Piano features a constant rhythmic motor, representing our hopefully constant dancing throughout life. The Sopranos and Altos begin in unison and then break into harmony as the texture unfolds. The middle section contains a round between the Sopranos and Altos, with the Altos offset by two beats. A third (optional) descant part sings above the round between the Sopranos and Altos. The opening material returns with the repeated text “Think light rays” but develops the material further with a few moments of divisi. The piece dramatically builds as the choir repeats the word “glow”, finally resolving with the call to “glow and dance”. The Piano’s rhythmic motor finally comes to a rest at the last measure.

I Celebrate Life is the second and last movement of the Light Cycle suite. The piece opens with an excited yet hushed ostinato in the Piano. The choir sings the first four lines of the poem by repeating the beginning line and adding the next line until it is complete, utilizing the modern technique of additive processes popular in Minimalism. In the more pensive middle section, the ostinato transforms into a more poignant texture as the Choir “realizes the joy of being through seeing the glorious creation” they are a part of. The ostinato then speeds up and returns to the hushed excitement heard in the opening. The piece concludes with the Choir building up to the most important line of the text: “The most powerful light to celebrate by is love.”

Light Cycle is suitable for any Treble-voiced ensemble. The pieces may be may be performed together or as stand-alone pieces. Both pieces explore imitative polyphony and would be a great way for any Treble- voiced ensemble to explore polyphony and part independence. The SSA divisi may be included or omitted as suited to the needs of the ensemble.

Light Cycle will receive its premiere on December 12, 2019 by the Graham Middle School Choirs conducted by Jennifer Gaderlund in Mountain View, CA.

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Ocean Poems contains musical settings of two poems from a set of poems of the same name by Jonathan Talberg, Director of Choral, Vocal, & Opera Studies at California State University, Long Beach (where the composer completed her graduate studies). Each poem in the set is dedicated to an important person in the poet’s life.

When We’re Gone 10,000 Years from Ocean Poems sets the beautiful poem of the same name by Jonathan Talberg. This piece uses hocket-like interplay between the vocal parts and metric displacement to create rhythmic propulsion. There is a limited set of rhythmic motifs used throughout the piece, including eighth note and quarter note groupings, triplets, and metric displacement. The technique of text painting is used for certain words to bring the text to life, such as soaring, howling, and tumbling.

I’m Still Here from Ocean Poems, sets the poignant poem of the same name by Jonathan Talberg. The poem is dedicated to Al Talberg (1928-2018), Talberg’s father. The piece opens with an insistent rhythmic motor, which is passed among the parts throughout the piece. The constant motion of the repeated text symbolizes the continuing presence of our loved ones, stating “I’m here. I’m still here.” This rhythmic motif continues in various permutations until the final chord, finally resting on the words “I’m still here twixt sea and sky,” reminding us that our loved ones are always with us.

These pieces may be performed as a suite or as stand-alone pieces. This suite would be suitable for advanced high school, collegiate, and professional choirs.

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Bubbling Up is a solo piece for the Haegeum, a Korean string instrument somewhat similar to the cello. The piece uses special techniques such as extensive glissandi and controlled vibrato.

 

The piece was premiered by Jeonghyeon Joo as part of the Sound and Fury present: PHASE, Korean Ensemble concert on April 27th, 2019 at Art Share LA in Los Angeles, CA.

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I’m Still Here, the sixth poem from  Ocean Poems, sets the beautiful poem of the same name by Jonathan Talberg, Director of Choral, Vocal, & Opera Studies at California State University, Long Beach. The poem is dedicated to Al Talberg (1928-2018), Dr. Talberg’s father. The piece opens with an insistent rhythmic motor, which is passed among the parts throughout the piece. The constant motion of the repeated text symbolizes the continuing presence of our loved ones, stating “I’m here. I’m still here.”. This rhythmic motif continues in various permutations until the final chord, finally resting on the words “I’m still here twixt sea and sky”, reminding us that our loved ones are always with us.

 

This piece may be performed as a stand-alone piece or paired with When We’re Gone 10,000 Years as the complete Ocean Poems suite. This piece would be suitable for advanced high school, collegiate, and professional choirs.

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The holiday season is upon us and thus so is holiday music. I have several upcoming performances of my holiday music, including a premiere of my brand new piece Light in the Darkness, a brand new arrangement of Joy to the World, and my arrangement of What Child Is This. This is my favorite time of the … Continue reading November 24th, 2018

Light in the Darkness, commissioned by and dedicated to Dr. Mary Breden, sets the Christmas poem “Light in the Darkness” by poet Norval Clyne (1817-1888). The bright and bell-like piano accompaniment, although sometimes also quiet and pensive, reflects the simultaneous darkness of winter and the shining hope that the Savior’s birth brings the world on Christmas morning. Steadily building in intensity throughout the piece, the choir proclaims the coming great Light that is about to shine. The piece also features surprising modal shifts, harmonic progressions, and modulations.

This carol would fit well in any holiday-themed concert, Festival of Lessons and Carols, or sacred Christmas and/or Epiphany service.

The piece was premiered by the LMU Concert Choir, conducted by Dr. Mary Breden, on December 6th and 8th, 2018 at Sacred Heart Chapel at Loyola Marymount University.

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Spots and Whiskers is a whimsical solo flute piece inspired by a day in the life of a cat. The piece uses extended flute techniques to mimic cat sounds such as flutter tonguing (purring), multiphonics (insistent meowing), and key clicks (claws on the floor). This piece would be a fun and light-hearted addition to any concert featuring solo flute.

It was premiered on June 2, 2018 by Gerardo Lopez as part of the Sound and Fury Concert Series in Los Angeles, CA.

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