For trumpet, violin, and cello

Duration: 4-8 minutes




Diptych is in two equal parts that share a proportional rhythmic and gestural structure. The score is roughly proportional, but gives the musicians a high degree of freedom to decide on exact rhythm and shaping.


For soprano, flute, cello, and piano

Duration: 4 minutes




This piece is a setting of Harry Thurston’s poem “Blossoms” from his 2015 collection Keeping Watch at the End of the World. I was drawn to the poem’s sparse language, and to its journey from the natural world to the inner self.


For flute and bowed vibraphone

Duration: 12 minutes




Hunger is a sparse piece that evokes the gaunt stillness of forests in late winter.


For wind ensemble

Duration: 10 minutes


SCORE         AUDIO 


This piece was inspired the weight and presence of a singular mountain, by the clouds shifting in form as they move around the peaks and ridges, and by the messy symmetry of nature. The piece exists as a series of colours and textures shifting over time.


For flute/piccolo, Bb clarinet, violin, viola, cello, piano,

percussion, and wine glasses

Duration: 10 minutes




This is a revised and arranged version of a piece originally composed for wind ensemble (below). This piece was inspired the weight and presence of a singular mountain, by the clouds shifting in form as they move around the peaks and ridges, and by the messy symmetry of nature. The piece exists as a series of colours and textures shifting over time.


For audio and improviser(s)

Duration: 10 minutes




The audio track for Winter Music consists of sounds recorded near Banff in January 2017. The performer(s) improvise, exploring their relationship to the audio soundscape.


For piccolo, cor anglais, bass clarinet, violin, viola, and cello.

Duration: 3 minutes




This work was inspired by a visit to the north coast of P.E.I. in December 2013. The title of this work, Boundary, refers to this spot as a meeting point of powerful forces of the sand, sea, and air. The piece is unmetred, and is based on the natural harmonics of the strings.

For viola and piano

Duration: 5 minutes




This piece was similarily inspired by a visit to P.E.I. The music evokes the freezing wind, waves, blowing snow, and frozen sand dunes of the beach with gradual transformations and a lyrical sense of motion.


For narrator, string quartet, and pre-recorded audio

Duration: 18 minutes


SCORE          AUDIO


Mer is a setting of poetry by Sue Goyette that illuminates the relationship of the people of Halifax to the ocean around them. Recorded interludes made up of sounds from around Halifax seperate movements performed by the narrator and quartet.



For 4 Bb clarinets, 4 vibraphones, 4 violas, and pre-recorded audio

Duration: 15 minutes


SCORE          AUDIO


Island is an immersive piece in which the audience is surrounded by music derived entirely from weather data contained in the 0048 shipping forecast of July 17, 2015. The accompanying storm was recorded in Cambridge, UK as the the forecast was broadcast.



For Bb clarinet, violin, cello, and piano

Duration: 11 minutes




Quartet is composed in three continuous movements. The piece is influenced by the sounds of northern peopel and environments including Sami joiking, the creaking of forests in winter, and the rhythms of Inuit throat singing. There is a strong sense of breath throughout the piece.



For flute, Bb clarinet, violin, viola, cello, and bass

Duration: 11 minutes




Mor is structurally tied to a recording of waves of the coast of Cornwall. The imposed structure of the wave cycle guides the composed musical material and creates a circular sense of time as new waves continually appear as others approach their break.


For eight percussionists

Duration: 7-10 minutes


SCORE          AUDIO


This work evokes the character of the Skaftafell region of Vatnajökull National Park in southeast Iceland. The area is characterized by its stark forms and contrasts created by the violent geology of the region. Glaciers and mountains surround a black, sandy wasteland formed by glacial floods.

For string quartet

Duration: 5 minutes


SCORE          AUDIO


Kumandang is based on the degung klasik style of Sundanese gamelan degung. Pieces composed in the degung klasik style are heterophonic. One performer plays a core melody while others play simplified or embellished versions of the same tune. In this piece, the core melody and other roles are passed between the players, who imitate each other frequently. Kumandang is an Indonesian word meaning repercussion, resonance, or echo. The title refers both to the imitative nature of the piece, and to its conception as an echo of the traditional klasik style.




For electronics with video

Duration: 7 minutes




This piece consists of an audio realization of eleven photographs taken of objects found near the Gaspereau River near Wolfville, NS.


For wind ensemble or Pierrot ensemble

Duration: 15 minutes






There are two versions of this piece. It was originally composed for wind ensemble, and arranged for Pierrot ensemble. The piece presents a series of five musical landscapes. Each one is conceived as a distinct, largely non-developmental soundworld for the listener to observe and inhabit for a short time. Like the natural world, the piece consists in part of gradual processes combining to create larger features that nonetheless display a sense of organicism.


For violin and piano

Duration: 3-5 minutes




This piece creates a quiet, stark texture dominated by short gestures on the violin. It may evoke the feeling of a silent, grey day in late autumn.





2013 revised 2014

For string quartet

Duration: 9 minutes


SCORE          AUDIO


This piece evokes the experience of the high alpine. The environment consists of bare peaks, moraine, scree slopes, drifts of snow, and the occasional glacier. Tundar is a Kildin Sami word meaning “elevated wasteland”. It is the root of the English word tundra.




For viola and gamelan degung

Duration: 9 minutes




Lagu Biola is loosely related to traditional Sundanese gamelan forms, but introduces the viola to the ensemble as a solo instrument.




For amplified string quartet




Spine was inspired by the stark whiteness of birch trees, which remain hard and fixed as the seasons change around them.

( )
For solo viola or solo cello




( ) was composed for India Gailey, and arranged for viola for Sarah McCabe. It explores the idea of breath.