April in Paris
Two lovers meet in a café on a rainy day in Paris.
Orchestration/compositional style: Claude Debussy (1862–1918).
Recorded and mixed at Private Island Audio, Hollywood, CA.

How The West Was Done
A vast, picturesque setting in the American Southwest. The tempo increases as the camera moves over a herd of cattle being driven across the open plains.
Orchestration/compositional style: Aaron Copland (1900–1990).
Recorded and mixed at Private Island Audio, Hollywood, CA.

Musically recounts the infamous O.J. Simpson events in Los Angeles, California, presented as a montage of scenes.
Orchestration/compositional style: Igor Stravinsky (1882–1971).

• 00:01–00:16: The initial chase on the freeway.
• 00:17–00:24: Nicole Simpson and Ron Goldman having dinner at a restaurant.
• 00:25–00:38: Return to the freeway chase.
• 00:39–00:49: The murder scene.
• 00:50–01:04: Freeway chase (reprise).
• 01:05–01:23: Courtroom hearing.

Recorded and mixed live at Private Island Audio, Hollywood, CA.

Written as a demo in response to a request to emulate Alan Silvestri’s style, this cue nods to the spirit of Back to the Future (1985) and Predator (1987).

Excerpt from a short orchestral piece submitted for the ASCAP Rudolph Nissim Composition Contest. All contestants were given the same three-minute film, which was highly abstract in nature, much like the opening sequence of Fantasia (1940). This excerpt also nods to “Daybreak” from Daphnis et Chloé by French composer Maurice Ravel (1875–1937).

This excerpt marks my first shift from acoustic writing into electronic ambient music, and comes from a 40-minute work titled Aural Journey. I was commissioned to create the piece as background music for a gallery of paintings by a local artist in Long Beach, CA. The music was well received, and I was invited back to compose for a Valentine’s Day art exhibit at the same venue. The complete work was recorded and mixed in Propellerhead Reason 6.

An action/suspense cue inspired by an episode of The Outer Limits (1990s version).

This cue is from Law of the Ninja, an early film venture produced and directed by William Joseph Hill of Four Scorpio Productions. The film marked our first collaboration as director and composer. This cue was among those I submitted for the Jerry Goldsmith/BMI Film Scoring Scholarship, which I was awarded while attending UCLA.

This excerpt was originally composed to underscore a romantic scene between two characters. The project was later scrapped, and the cue was never used.

This excerpt comes from a film cue underscoring a woman’s search through the desert for an important artifact. Sparse orchestration helps convey the arid, barren landscape.

One of my favorite movements in classical music is Venus from The Planets (Op. 32) by English composer Gustav Holst (1874–1934). I recorded and mixed this piece while studying orchestration at UCLA.

This track was written as background music for a Valentine’s Day art exhibit in Long Beach, CA. Here, I aimed to capture the sense of euphoria that comes with the early stages of a romantic relationship. Recorded and mixed in Propellerhead Reason 6.

Composition is all about creativity. Sometimes a rhythm or theme comes to me in the car—or in the middle of the night—and I jot it down. This piece is the result of one of those moments, written just for fun. Recorded and mixed in Propellerhead Reason 6.