Piece for vibes, synthesizer, guitar, and bass. 

An attempt to base a piece just on various musical events or gestures instead of my more usual reliance on pulse or rhythm.

In The Course of Musical Events

A piece for crotales, tubular bells, piano, and harp

This piece uses a seven-tone row as its genesis, since that's the maximum number of notes a harp can play without changing the pitches with the pedals.

Austere Beauty

A twelve-tone piece for rock band. It doesn't quite follow the rules for either genre, though maybe the rock side is slightly more dominant.

The title is a complicated linguistics in-joke; it's probably easier to leave it at that. 

Performed live by the Truman Ad-Hoc Classically-Trained Rock Band: Rich on bass, Vince on drums, Curt on electric guitar, and Ian on keyboards.

En chômage

A piece for Wind Symphony

Performed by the University of Rochester Wind Symphony, 
Cindi Johnston-Turner, conductor
(The composer himself on glockenspiel and vibraphone)
Recorded live in concert at McMaster University, March 24, 2002

Xeriscape

A piece for Creole Formation, a one-time garage band/chamber group

The inspiration for this piece was, oddly enough, a talk on Radical Construction Grammar by William Croft.

Recorded live at the EV Talent Show, April 28, 2004
Lauren Hall-Lew, Clarinet 
Doug Ball, keyboard

Clash Of The Theories

Fusion-y jazz piece for lead line (realized by soprano sax here), electric piano, electric bass, and drumset. Two solos (entirely written out) are included because silence would be weird.

At the Eleventh Hour

An interesting blend of classical compositional techniques with non-classical instruments. Written for 2 percussionists (one playing definitely-pitched instruments and one playing indefinitely-pitched instruments) and 2 keyboards (electric piano and clav). Makes extensive use of the so-called augmented scale.

Douglas Ball