Chamber (Instrumental and vocal)

• Rauschen (2024) for percussion quintet, commissioned by the University of Delaware Graduate Percussion group

• Bone Dice (2022/23) for percussion quartet, commissioned by Sandbox Percussion

• For Linda Catlin Smith (2022/23) for clarinet, violin, cello, and piano, commissioned by Unheard-of//Ensemble

• Confection I (2023) for three bassoons and two double basses (8’) commissioned by New Downbeat

• Games (2023)* for two trumpets, trombone, and bass trombone (10’), also arr. for brass quintet

• Lunch (2023)* for piano four hands (8’) adapted from Lunch (2018)

• Quartet (2022)* for violin, viola, cello, double bass, and percussion (8’) adapted from Quietism

• Quietism (2022)* for viola, cello, and percussion (6-7’) commissioned by the Walden School for the Warp Trio

• forgetting (2021/2022) for piano, synthesizer, and two percussionists (11’) commissioned by the icarus Quartet

• Good Dream (2021)* for vibraphone, cello, and piano, for Adam Holmes, Nick Photinos, and Karl Larson

• Sea Glass Partita (2021)* for soprano and bassoon, also arranged for soprano and baritone saxophone (10’) text by bassoonist Eleni Katz, commissioned by Eleni Katz

• The End of Seasons (2021)* for violin and piano (10’) commissioned by violinist Ilana Zaks and pianist Anthony Ratinov

• Speaking in Static (2020)* for string quartet (8’) written for the Omer Quartet

• All mute things speak today (2019)* for soprano and double bass (6.5’) written for soprano Anika Kildegaard and bassist Will Yager

• The Silken Cord and The Singing Sea (2019) for mezzo-soprano, flute, violin, double bass, melodica, and piano, text by Anna Margolin (45’)

• Day Eight (2019)* for soprano and violin (4’) written for Duo Cortona (Rachel Calloway and Ari Streisfeld)

• Lunch (2019)* for vibraphone and marimba (7.5’) written for percussionists Maddy Dethloff and Sam Carullo

• What the big voice said (2018)* for two violins, cello, and percussion, also arranged for string orchestra and percussion (at least 5’) commissioned by the Blair School of Music and the Royal Academy of Music through the Vanderbilt London Exchange

• Breakfast (2017) for voice (any type) and clarinet (6’) written for clarinetist Keeheon Nam and soprano Samantha Long

• The Scroobious Pip (2017)* for soprano and piano, text by Edward Lear (6’)

• Dances (2017) two movements for clarinet, viola, and cello (9’) commissioned by the Atlantic Music Festival

• The gray, the green and blue (2016) for flute, oboe, clarinet, bassoon, and percussion (6’)

• Haiku of Issa and Bashō (2016) for tenor, cello, and piano, text by Kobayashi Issa and Matsuo Bashō (7’)

• Sonnet 116 (2016) for tenor and piano, text by William Shakespeare (3’)

• Until (2016) for soprano voice, alto voice, viola, and trombone,  also arranged for soprano voice, alto voice, viola, and cello, text by E.B. White (6’)

• String Quartet in Two Movements (2015) for string quartet (12’)

Large Ensemble and Orchestra

• NEW WORK IN PROGRESS (2024) for Alarm Will Sound, commissioned by Mizzou New Music

• Songs at Night (2024) for soprano and sinfonietta (60’) text by Anna Margolin, projection design by Camilla Tassi, commissioned by Contemporaneous

• To crave and to have (2022)* for sinfonietta or chamber orchestra (14’)

• To crave and to have (2022)* for string orchestra (14’) commissioned by the 2022 Next Festival of Emerging Artists

• eeanduh (2021)* for orchestra (7’) for the Yale Philharmonia

• Four Songs at Night (2021)* for soprano and sinfonietta--flute, bassoon, horn, piano, two violins, viola, cello, and double bass (22’) text by Anna Margolin, projection design by Camilla Tassi

• For Ellen Arkbro (2021)* for organ and brass ensemble—minimum six trumpets, three trombones, two tubas, or as many as you can possibly get (25-30’)

• Bad Dream (2021) for flute, clarinet, piano, percussion, violin, viola, cello, and double bass (7’) commissioned by the 2021 Bang on a Can Summer Festival

• At a Distance (2017) for orchestra (6’) commissioned by the Atlantic Music Festival Orchestra

• A Swim (2015) for chamber orchestra (7’)

Music for Dance and Media

• transformations (2022) for ensemble of any number of strings, commissioned by the 2022 Next Festival of Emerging Artists for choreographer Hannah Victoria Thomas

• music for a dance (2021/2022)* for solo piano, composed for choreographer Emily Coates and pianist Melvin Chen

• Connection Through Isolation (2020) for fixed electronics (5’) commissioned by choreographer Caitlin Elledge for X Contemporary Dance, Nashville, TN

• Songs from a Cold Heart (2020) for solo electric guitar and electronics (9’) commissioned by choreographer Mariana Oliveria with the Nashville Ballet

• Third Voice (2019) fixed electronics (23’) in collaboration with choreographer Lizzie Graves, commissioned by New Dialect dance company, Nashville, TN

Fixed Electronics and Installations

• All mute things speak today (2019/2020) collaborative installation with the Vanderbilt University Department of Visual Art

• Electronic suite (2018) for fixed electronics, audio component of a solo installation at the Memphis-area Wysteria festival (40’)

• A Long Journey Finished (2017) for fixed electronics (4’)

Choral

• Rounds (2023-ongoing) for SSAA choir

• XVIII (2019)* for SATB choir and piano, text by A.E. Housman (3’)

• Wayfaring Stranger (2019)* for SATB choir (4’)

• Song (2019)* for SATB choir, text by William Blake (3’)

• Savior of the Nations, Come! (2019)* for SATB choir and piano (3’)

• Thine Eyes Still Shined (2014) for SATB chorus, text by Ralph Waldo Emerson (3’)