Onomatopoeia for cello and electronics
This piece was generated from recordings of cello notes and phrases many of which take advantage of the sonic diversity of sounds the cello can produce including exended techniques such as variable bow position, glissandi of artificial harmonics, etc. A six-channel version was premiered at the University of Chicago in 2002, and a two-channel version has been performed elsewhere.

Triptych for alto saxophone and electronics
This piece consists of three sections, demarcated by texture. The tempo and pacing of each section predisposes it toward a different method of aural cueing. An attempt was made to create an overall sound which is derived from the saxophone itself.

Gongular Intermatrix sound piece derived from recordings of a tam tam
Using multiple recordings from an extensive sampling session exploring the tam tam with various beaters and methods of sound production. Employed in the 2003 revision is my stochastic multiplier, which creates chaotically timed showers of sound consisting of hundreds of thousands of iterations of a single sample.

Folding into White for flute, English horn and electronics
This duet with prerecorded accompaniment is comprised of processed flute and English horn samples. As with "Onomatopoeia" and "Triptych" the sonic palette of the digital accompaniment is an extension of those of the instruments themselves.

A Summer Midnight's Dream four-part vocal canon layered digitally
Although written in quadruple counterpoint, this chromatic melody is here realized by a single, soprano voice, originally sung to a click track, then digitally layered to form a round. Some digital changes were made to intonation for the sake of equal-tempered chromatic harmony.

A Gracing Maze built from assembled vocal fragments with MIDI accompaniment
This is one of a series of projects done with small children. A 6-year-old girl sang the traditional hymn "Amazing Grace" for fifteen minutes improvising her own lyrics while listening to an accompaniment through headphones. Then small fragments of the vocal recording (usually two to five notes each) were reassembled into a new pop-style ballad with MIDI accompaniment. No pitch alterations were made to the vocal fragments other than the last two notes which were transposed down a whole step.