Strings
Note from the Composer: Greetings string players! While my background is in harp and percussion, string instruments are among my favorite to write for, and I love playing with the huge array of colors, textures, facility, and power each of these fantastic instruments can employ. If you’re looking for something completely new, let’s chat—I’d love to work with you on your next project! In the meantime, I’m also always happy to recommend works by other living composers.
Return to The Library | Commission Information | String, Chamber, and Symphony Orchestra Sheet Music
for string orchestra music, please visit the Orchestra page
Solo Works
Commissions from Quarantine: 5. Peaceful and Expansive for solo violin (2020)
Duration: 3’00”
Commissioner: Hannah Christiansen (YouTube)
This contemplative work for solo violin explores a host of colors and textures. While the work starts with a simple, expressive melody, the range, dynamics, and use of color expands as the piece continues. While the work builds to a tempestuous climax towards the middle, the slow descent in both range and dynamic levels towards the work’s conclusion leaves both listener and performer with a sense of catharsis.
Commissions from Quarantine: 22. The Nasty Hobbitsies’ Jig for solo double bass (2020)
Duration: 2’00”
*Tuning: Drop D
Commissioner: Benjamin J. Anderson
Commissioned by Benjamin Anderson for both the Commissions from Quarantine project and their brother's wedding, this short work for bass uses a folk-like melody and dancing rhythms. Opening with a slower, more expressive section to feature the expressive power of the bass, the work soon explodes into a rambunctious groove infused with syncopated rhythms and expressive glissandi. The powerhouse ending highlights the surprising agility and range, building to a final, climactic low D.
Commissions from Quarantine: 32. Warm, Soothing for solo viola (2020)
This work has yet to be recorded—a MIDI rendering is available upon request.
Duration: 2’00”
Commissioner: Anonymous
Commissioned for someone with a hearing sensitivity to loud, high sounds, this gentle work stays largely in the lower register of the viola—only dipping to the higher register very quietly. The simple, pervasive motive builds on itself to create a short, expressive lullaby.
Duos with Strings
My Father’s Dragon for flute and cello + optional narration (2021)
This work has yet to be premiered—a MIDI rendering is available upon request.
This work is in 12 movements:
1. Introduction (0’10”)
2. Chapter One: My Father Meets The Cat (1’30”)
3. Chapter Two, Part One: My Father Wanted to Fly (3’30”)
4. Chapter Two, Part Two: My Father Runs Away (1’30”)
5. Chapter Three: My Father Finds the Island (2’15”)
6. Chapter Four: My Father Finds the River (1’30”)
7. Chapter Five: My Father Finds Some Tigers (2’00”)
8. Chapter Six: My Father Meets a Rhinoceros (3’15”)
9. Chapter Seven: My Father Meets a Lion (3’30”)
10. Chapter Eight: My Father Meets a Gorilla (2’30”)
11. Chapter Nine: My Father Makes a Bridge (3’30”)
12. Chapter Ten: My Father Finds the Dragon (3’30”)
Duration: 20’00” (creature feature) | 25’00” (instrumental) | 30’00” (complete)
Commissioner: tuo duo - Emlyn Johnson, Daniel Ketter (Website)
My Father's Dragon is a tone poem of the children's story of the same name by Ruth Stiles Gannett; the story is about a young boy, Elmer Elevator, who runs away to Wild Island to rescue a baby Dragon. The work follows Elmer through each segment of his adventure—from his fateful meeting with an old alley cat, to the shores of Tangerina, deep in the jungles of Wild Island, and in the face of every danger he comes across on his way to the dragon. Lyrical, whimsical, quirky, and dynamic, My Father's Dragon is sure to provide a unique and fun challenge to any duo—and an unforgettable experience for listeners of all ages.
About the versions:
This work is designed to be as modular as possible, with versions with and without narration, as well as the option to perform only only the second half the work (“creature feature option,” for a total of 15’00”). You can read more about the different versions below.
“Complete with narration” is a full score that includes the narration embedded into the score, and should be performed with a third person reading the text over the music. This version can be done in its entirety (about 30’00”), or with the option of starting halfway through for those wanting to focus solely on the animal movements (“creature feature” version, movements 7-12, 15’00”). This version is best for those who wish to perform the work with guest narrators. Those who wish to perform without narration may prefer one of the other options if the text proves distracting in the score.
“Narration between movements” is meant for duos who wish to include narration without a third person performing—the narration happening prior to each movement with a single instrument playing a vamp under the narration. After the reading is finished, the music can seamlessly continue from the vamp into the movement proper. Please note: While this makes the movements shorter (not having to vamp under a narrator), it can still result in a longer run time depending on the pace of whoever is reading. Due to the formatting, this version also includes the flexibility to play each movement without narration, and may be best for groups who wish to have the ability to do either option and without relying on a third person.
“Instrumental only” is best for groups that do NOT plan to incorporate the text at all, as it only includes the musical material. This is also the shortest version, usually taking about 23’00”-25’00” depending on tempos and durations between movements.
Pricing**
Complete with narration
Full score, digital: $70
Per movement, digital: $15
Narration between movements
Full score, digital: $65
Per movement, digital: $12
Instrumental only
Full score, digital: $55
Per movement, digital: $10
Dirty Jeans for viola and piano (2015)
Recording by Caitlyn Fukai and Noah Sonderling
Duration: 5’30”
Commissioner: Audrey Alessi (Website)
Originally commissioned as part of an evening of works for viola by female American composers, Dirty Jeans is a rambunctious and vibrant work. With both the viola and the piano weaving in and out of the spotlight, this “true-duo” piece explores Americana-style harmonies and vaulting rhythmic play—making this a great ending piece for any recital!
Pricing
Digital: $35
PDF includes a piano score and a solo viola part, formatted for page turns.
Commissions from Quarantine: 31. Hope and Patience for violin and zarb (2020)
This work has yet to be recorded—a MIDI rendering is available upon request.
Duration: 3’30”
Text: “Hope and Patience” by George MacDonald (1824-1905)
Commissioner: Anonymous
Hope and Patience is a setting of a poem by the same name. The piece splits the text between the performers, providing both musicians the opportunity to bring both their instrumental and speaking voices to the foreground. The violin part uses a variety of colors and textures throughout the piece—including scratch tone, col legno battuto, harmonics, glisses, arpeggios, and sparkling melodies. The zarb acts a driving force for the work, incorporating dance-like rhythms, dramatic rolls, dynamic constrasts, and a wide array of tone colors.
Prometeo for viola and soprano (2020)
This work is being recorded and will be available in 2024—in the meantime, a MIDI rendering is available upon request.
Duration: 9’15”
Text: “Prometeo” by Mauricio Herrera (1994 - present). This text is in Spanish.
Commissioner: Conrad Sclar (Website)
Vocalist Range: G3-C6 or G2-C5
Commissioned by Conrad Sclar, Prometeo sets a poem by the same name by Mauricio Herrera. The poem is a contemplation on the Prometheus myth, and its consequences on humanity. Beginning dark and simple, the vocalist and violist weave in and out—slowly building and brightening as the music swells in preparation for the arrival of Prometheus. Mixing freely spoken text, rhythmic sprechstimme, and full-voiced singing, the vocalist and violist both work to create highly dramatic shifts in tone, as the text describes both the actions of Prometheus and their consequences on the land and its people. With a mix of coloristic effects in the viola, rich text painting, a wide array of textures, and theatrical pacing throughout, the work is a true showcase piece.
Pricing
Digital: $12
PDF includes a full score, as well as an optional isolated part for viola. Also includes full text and translation.
Trios and Quartets
Night Lights for flute, viola, and harp (2023)
This work has yet to be premiered—a MIDI file is available above
This work is in three movements:
1. Headlights Wreathed in Fog (3’45”)
2. Fireflies Among the Trees (4’00”)
3. Cinders in the Air (4’30”)
Duration: 12’15”
Commissioner: Michelle Lundy, Beau Soir Ensemble (Website)
Commissioned by Michelle Lundy (harpist), Night Lights is inspired by different sources of light at night. The first movement features a gentle and mysterious ostinato in the harp, the viola and flute trading moments to soar above, as well as playful wrap between the melody and accompaniment. In the second movement, woody effects and buzzing punctuations pulse in the background as bright accents peak out from the texture before giving way to sparkling and lush outbursts of lyricism. The dancelike third movement lilts and breezes as each instrument takes it’s turn with the unfurling melody and pulsing accompaniment. The infectious joy of the final movement builds to a triumphant finale, making this an excellent closing work for any trio.
Pricing**
Full score, digital: $35
Per movement, digital: $15
PDF includes a full score, as well as solo parts for the flute, viola, and harp formatted for page turns.
Interplay for clarinet in Bb, violin, and piano (2018)
This work can also be viewed as a 360 video (SamsungVR) with a performance by the Bruce Wood Dance company on my YouTube Channel!
Duration: 6’30”
Commissioner: Trio Kavanáh (now MAKEnsemble)
Commissioned by Trio Kavanáh and the Dallas Contemporary to accompany the showcase, Interplay is inspired by the Horizons exhibit by artist, Ian Davenport. The work opens with a vivid mimicry of paint falling on canvas, but soon explodes into a frenzy of dovetailing counterpoint and strong, tutti arrivals—highlighting each member of the ensemble. A slow, aleatoric middle section enchants the listener before a final explosion of energy, culminating in dramatic ensemble runs.
Pricing
Digital: $25
PDF includes a piano score (transposed and/or in C) as well as individual parts for clarinet and violin, formatted for page turns
Cliff Notes for vibraphone, viola, cello, bass (2020)
Performance begins at 30:09
Duration: 5’45”
Commissioner: Grand Circle New Music Ensemble (Website | YouTube)
Commissioned as part of the Project 12 commissioning series, Cliff Notes was inspired by the Red Cliffs near St. George, Utah where the Grand Circle New Music Ensemble is based. The piece works to capture the rugged beauty, towering scale, and arid climate of the cliffs—fiddle-inspired gestures in the viola, thin, soaring melodies in the cello, and groove-based ostinatos from the double bass permeate the work as the vibraphone lends both percussive impact and hypnotic textures throughout. The result is a dynamic work that makes the perfect ending piece for any recital!
Pricing
Digital: $25
PDF includes a full score and individual parts for each player, formatted for page turns.
Bear With Us for 4-part cello ensemble (2020)
You can read more about the creation of this work on the blog post linked here.
Duration: 4’00”
Commissioner: Dan Ketter, for Missouri State University Cello Club (Website)
Commissioned as part of the Project 12 commissioning series to act an anthem piece for the Missouri State University Cello Club, Bear With Us is a dramatic, driving work meant to showcase the wide range, expressive capacity, and coloristic diversity of the cello. The work starts with a tightly-voiced harmony that catapults into the extremes of the range before settling in the lowest register for a rhythmic groove that will permeate the rest of the work. With elements of both fiddle playing—including chop and opportunities to improvise—and classical ensemble music, this fun and dynamic work is sure to leave your audience humming and toe-tapping along!
Pricing
Digital: $20
PDF includes a full score as well as individual parts for each cello voice, formatted for page turns
Quite Like the Quiet for soprano vocalist, alto saxophone, and cello (2020)
Duration: 7'30"
Commissioner: Joshua Thomas, Bassless Trio (Website)
Joshua Thomas commissioned this work both as part of my Project 12 series, and also as part of the Bassless Trio project to commission works about the pandemic told from the perspective of inanimate objects. Having just moved to Portland in January of 2020, there was a lot to think about—the lockdowns, the protests, the pandemic, the wildfires. Spending most of 2020 in a one-bedroom apartment with my partner, I would often spend time gazing out the window. I have a fantastic view of the city and the forests beyond, and could see much of the robust train and streetcar network, so I took the TriMet as inspiration for this piece. The trains were one of the few things that kept moving during most of the pandemic. Clamorous effects, huge contrasts in texture, and passing text between players create a vibrant opening that becomes thinner and more sparse as the piece progresses. For groups looking to do something a bit more theatrical, this is a great challenge that will showcase both individual players as well as ensemble playing.
Pricing
Digital: $25
PDF includes a score (transposed and/or in C) as well as individual parts for saxophone and cello, formatted for page turns
Extracted Wisdom for string quartet (2015)
This work is in four movements:
1. A New Perspective (Panoramic X-Ray) (0’40”)
2. Inner Peace (Sedation) (1’30”)
3. Sharp Focus (Severing Tissue) (0’50”)
4. A Weight Removed (Crushing the Tooth) (0’30”)
Duration: 3’30”
Inspired by a friend’s recent dental surgery, Extracted Wisdom is a set of miniatures for string quartet that captures the four stages of the procedure—the first movement filled with whirling and clacking like a machine taking pictures, the second movement ebbing in and out of consciousness, the third precisely poking before tissue snaps away, and finally the crushing drills downward and subsequent debris scattering about. This short work lasts much less than the procedure it was inspired by, and promises to be much less painful for both performer and audience!
Pricing
Digital: $12
PDF includes a full score as well as individual parts formatted for page turns
Chamber Ensemble Works
Efflorescence for oboe doubling bassoon + string quartet (2021)
From the premiere performance (headphones recommended due to quiet noise level)
This work is in three movements:
1. Herbs (4’15”)
2. Cycads (3’15”)
3. Succulents (5’00”)
Coming soon: Arrangement for flute, oboe, clarinet (dbl bass), string quartet, and piano! Check back January 2025 for score. A rehearsal recording of this version can be found here.
Duration: 12’30”
Commissioner: Colton Sprenkle (Website)
Commissioned by Colton Sprenkle as part of the Spring Forward commissioning series, this three-movement work is inspired by different plant forms. In the first movement, Herbs, a large variety of colors and textures are explored - capitalizing on both the oboe's lyrical expressiveness and the bassoon's surprising facility. The end of the movement highlights the bassoon's upper register - seamlessly moving into Cycads. This breezy second movement gusts and billows in a spirited sequence of trill-like figures and scalar passages, set against a series of lusher, melodic moments. The final movement, Succulents, offers nearly as many colors and textures as its namesake—percussive knocks, extreme registers, dynamic contrasts, and raw energy throughout permeate this final movement. The result is a complete showcase for both soloist and string quartet, sure to capture the imagination of any listener.
Pricing
Full score, digital: $35
Per movement, digital: $12
PDF includes a full score and solo parts for each performer, formatted for page turns.
Just Another Climb for flute, oboe, clarinet, viola, and harp (2020)
From a performance at the Grand Teton Music Festival. Original premiere can be found here.
Duration: 4’30”
Commissioner: Merian Ensemble (Website | YouTube)
Commissioned by Elizabeth Remy Johnson (harp) for the Merian Ensemble as part of the Project 12 commissioning series, this work was inspired by the first “manless” ascent of the Grand Tetons (by Margaret Bedell, Anne Sharples, Margaret Smith Craighead, and Mary Whittemore). I loved that they had worked together as a team to reach the summit, which I felt was a great parallel to The Merian Ensemble's dedication to raising awareness of the contributions of overlooked women throughout history. When interviewed about the historic climbing experience, Craighead simply said, “This may have been of importance to the record of events, but to us it was just another climb.” You can read more about this work on my blog—including score excerpts—linked here.
Pricing
Digital: $25
PDF includes a full score (transposing and/or in C) and individual parts for each player formatted for page turns.
What I Would Do for baritone vocalist + string quartet (2017)
From live performance by Justin Parish
Duration: 4’45”
Text: “What I Would Do” by Kimberly Osberg, adapted from crowd-sourced text
Commissioner: Justin Parish (Website | YouTube)
Vocalist Range: E2-D4
In 2017, I put a question out to my social media channels—what is something you would do if you weren’t afraid to do it? I then created a new text using these responses, collecting the unfulfilled wishes of friends and strangers. The piece explores the joy and wistfulness in these daydreams, as well as the sorrow and fear preventing them from being realized. The result is a piece that promises a grand trade-off, only to recede back into fear—leaving the listener to decide if they will choose to do the same.
Pricing
Digital: $25
PDF includes a full score and individual parts for each player, formatted for page turns. Available in other keys upon request.
Broken Boomerang for flute, clarinet, viola, cello, and piano (2014)
Duration: 5’30”
While I was getting coffee one summer, I saw some local kids throwing various discs, boomerangs, and other flight toys around a field. At one point, a cheap boomerang they had been playing around with snapped off at one end; the kids started flicking it around, trying to get it to return to them with varying degrees of failure. I started thinking about how to depict this struggle musically, and the result was this work. A large variety of textures flit and scurry as the main idea struggles to return, resulting in rhythmic-but-fragmented interruptions, lyrical-but-melancholic melodies, and a final outburst that leaves the listener with only cinders.
Pricing
Digital: $25
PDF includes a full score (transposing and/or in C) and individual parts for each player formatted for page turns.
Silver and Brown for flute solo + string quartet (2013)
Duration: 5’45”
Commissioner: Daniel Gallagher
Commissioned by and dedicated to Daniel Gallagher, Silver and Brown is small chamber work for solo flute with string quartet accompaniment. The highly lyrical, often melancholic, flute writing soars brilliantly above swelling, pulsing, buzzing, and burbling string textures. This gap between the strings and flute ebbs and flows throughout the work, resulting in an ever-evolving, expressive, and highly dramatic work.
Pricing
Digital: $25
PDF includes a full score, solo flute part, and string parts with an ossia flute line
Mountain Dances for oboe, bassoon, violin, viola, and piano (2013, rev. 2021)
This work is in three movements:
1. Thin Aire (5’30”)
2. Bearceuse (3’45”)
3. Sun(ata) Burnt (4’15”)
Duration: 13’30”
Mountain Dances was written in the summer of 2013 in Estes Park, Colorado. Inspired by the lush forests, towering peaks, brilliant sunshine, and even the occasional bear spotting, the suite encompasses a wide variety of moods, colors, and textures. In Thin Aire, the bouncing rhythms and intricate voicings work to create a perpetually swirling soundscape that is simultaneously light and lush. In Bearceuse, both bear and lullaby appear in the piano's extreme registration and the reeds' lyrical and singing melodies. Sun(ata) Burnt sizzles, burbles, and shimmers in colorful sustains, playful mixed meter grooves, and sweeping melodies that weave between the instruments. The result is a showcase piece for the entire ensemble—roaming, tumbling, and dancing their way through the wilderness.
Pricing
Full score, digital: $35
Per movement, digital: $15
PDF includes a piano score and individual parts for each player formatted for page turns.
Looking for more?
You may also find more works for various string instruments in the Large Mixed Ensemble section of The Library—or reach out to me directly! If I don’t have what you’re looking for, I’m always happy to recommend other living composers who might have just the thing!