I’ve been chasing something since I was a kid. My parents were musicians, and I grew up identifying the instruments in Carnival of the Animals and Peter and the Wolf on records with them both. By age 12, my listening habits gravitated as much towards the instrumental underscores of Disney and Don Bluth films as they did the more standard popular music. Animated films were special to me because most of my youth I was working towards being a traditional character animator. When computer graphics emerged and quickly became the de facto approach to animation, as cool as it was, I just didn’t feel the same call from that world as I did my pencils, putty eraser and sketch pads. I soon realized that with music technology I felt no such inhibition - quite the opposite. As a teen, I spent as much time exploring a Super Nintendo game’s soundtrack in the options menu as I did playing the game itself, and fondly recall pestering my dad to listen to how good the 16-bit brass was sounding. The fast evolution of the technology driving the possibilities was intriguing, and even then the development pace was tangible. How these complex technologies worked fundamentally to enable music making, how to create great compositions and produce them at a high level - these were pursuits that called on a level that was irresistible. I found my way to my beloved Cubase, and the craft of composing and producing with a blend of live musicians and virtual instruments which I perform became my artistic medium.
Life-long loves of science and tech, history, art and especially storytelling converged, and I found myself composing music for a live play and several subsequent short films before studying composition at the University of North Texas. Many adventures later I am still writing and having more fun now than ever!
My current work is focused on several major projects:
Heroes Fantasia: A collection of fantasy adventure pieces that I am excited to share imminently as an ongoing series.
All the Falling Moments: A personal work contrasting a wondrous, bittersweet ephemeral existence with the innate futility of trying to hold on to all of it.
The Star: Based on the classic poem, this concert piece for choir invites the listener to experience the night sky through the eyes of an 1806 viewer. It seeks to capture that era's curiosity and genuine wonder—a time when the heavens were alive with shining lights, and the popular speculation that stars were distant suns was still decades from being proven as fact.
Sol (Untitled): A suite of eight works imagining humanity’s first settlements in our solar system.
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