This piece is a weighty orchestral take on the musical materials of J. S. Bach's 1724 cantata chorus, Nun komm, der Heiden Heiland. Third and last in a series of arrangements of BWV 62 commemorating its 300th anniversary, this one deviates the most from the original music, dropping voices entirely in favor of a complete woodwind section and modern brass and percussion ensembles. Urgent to the end, this work, like its source material, ushers in the Advent season and prepares the listener for the coming of the long-awaited Messiah.

Sawing strings, blaring brass, and pulsating percussion drive forward this piece in an exploration of 7/8 time and the deepest feelings of persistence. Strident at first, the music eventually caves in upon itself, drawing parallels to the not uncommon experience of overexerting one's self to the point of physical and mental collapse. A melancholic section follows, but it is not to linger long; the atmosphere soon shifts to brighter swells that foreshadow a return to form. Indeed, the piece closes with a refrain of the opening material, driving the listener to structural and emotional closure.

This piece bears the melodic and harmonic characteristics of a chorale tune but sounds nothing like one with its blockbuster-level instrumentation and orchestration. As such, I struggled to title this piece. What was it? What was I trying to say with it? Why did I write it? Eventually, I settled for the idea of an impetus, a force that makes something happen. This could be anything, from a rocket burning to create thrust to a person inviting you to a movie to get you out of the house. But without an actual impetus for writing this piece, the meaning of it is truly left to the listener and his imagination.

This piece is a weighty orchestral take on the musical materials of J. S. Bach's Prelude and Fugue in C Minor. While the Prelude serves as rhythmic and harmonic engine to the work, the subject and motives of the countersubject from the Fugue slot in as melodic points of interest. Their stellar combination is less a testament to my abilities and more so the genius of Bach to write two halves of a whole, stylistically very different but musically inextricable.

Tragedy striking out of nowhere. Unexpected rejection in life and career aspirations. Spontaneous moments of crisis in religion or creed. All of us have experienced times of abrupt uncertainty that leave us utterly drained in mind and body, unsure of what to do next, where to go, who to talk to. This piece is inspired by those moments where, caught completely off-guard by a sudden turn of events, we cannot help but dwell on our darker thoughts. Persistently low in instrument registers, ambiguous in harmonic and tonal language, and sifting between electronic and acoustic textures, the music labors to escape its dour beginnings much like we struggle to rise above our most substantial pitfalls.

This work is my take on the title sequence music of Marvel's "What If...?". Sensing a missed opportunity to riff on the heroic tune that plays during Marvel Studios' introductory logo reel, the cue opens with a rendition of that melody but in minor key and slightly offset fashion. As the universe fractures into multiple realities on-screen, the music follows suit, exploring various keys and rhythmic motifs amidst competing meters. The piece builds to a raucous orchestral tutti for the reveal of the series title logo.

Imagine feeling yourself drift away from this life. Eyes squeezed shut and mind racing with fear of the unknown, your soul leaves the death and despair of Earth and arrives... somewhere. You cautiously open your eyes and see before you the most beautiful landscape imaginable. The sight leaves you breathless in awe, and you wonder where you have ended up. As you gaze upon paradise, you perceive someone calling you by name. Turning, you see a figure with His hand outstretched, and it finally hits you that this is life after death. Without hesitation, you take the hand of your Creator and smile at the anticipation of an eternity with Him.

This piece was my first experiment working compositionally with a new sonic palette put together after months of researching, acquiring, and testing virtual instruments and plugins, hence its Latin title meaning "new'.  Fundamentally, the work was not altogether novel, as its motivic ideas and harmonic progression were derived from my two previous "Novo" pieces. However, the realization of my developing hybrid style through new software, combined with new musical complexities, resulted in a piece quite unlike anything I had written before. 

This piece, created for Spitfire Audio's Westworld Scoring Competition, was my take on the car chase cue from the fifth episode of Westworld season 3. Inspired by the music backing major action set pieces in films such as Mission Impossible: Fallout and Transformers, I centered the score around a multi-ensemble percussion section and incisive low-brass motives. The goal was a Balfe-/Jablonsky-style composition founded on traditional orchestration with splashes of electronics and extended techniques to emphasize the unique futuristic elements of the scene.

The driving principle behind this piece is frenetic division, hence its title. A fast tempo in irregular meter establishes the idea from the very beginning, manifested further by sliding leads and punching percussion. As the piece progresses, even more instruments are added, culminating in a finale of full orchestra, synths, and a distortion guitar for good measure!

This is the background track for science fiction virtual reality game "Escape from Arcadia", in which the player is tasked with repairing a reactor before an alien hunts him or her down. In order to capture the powerful, creeping effect called for by the producer of the game, I experimented a lot with pitch bend, panning, and noise synthesizers.

Catastrophic events always result in loss of life; graveyards get a little bigger and families a little smaller. Survivors have a choice to make: do they let such tragedies overwhelm them in depression and grief for the rest of their lives, or do they rise from their sorrows and rebuild? This piece, from its mourning strings to its soaring brasses, follows those individuals who choose to move on, though what was lost will never be forgotten.

Any society in which rulers unjustly use their power to oppress their subjects is bound to breed resistance. This resistance must work in secret and strike with precision and effectiveness for it to have any chance of success. The electronic portions of this piece convey the covert operations of such an organization, while the orchestral sections pay tribute to the heroism of people standing up to tyrants.

This piece was the 2018 remake of my first composition from 2013: a theme for a fictional superhero team. Synthesizer arpeggios and atmospheric nuances are used throughout, while a brass fanfare of the original melody still anchors the piece.

5 years. 5 albums. 100 pieces. 100 subscribers: this piece was composed to celebrate a variety of accomplishments that happened to coincide at the end of July 2018. "Five Score" encapsulates all these milestones, not only in name (an old-fashioned way of saying 100), but in content (the themes of each of the five albums released up to that point have their moments to shine).

This brief work is intended to convey the tone of an exciting and adrenaline-filled football (soccer) match. Titled Eu Foedus, "The League" in Latin, the piece was originally created as the theme for a fictional Antarctican sports organization of the same name.