ARRANGING + COMPOSITION
Music built around the project.
Arrangements and original music shaped around the artist, ensemble, and musical direction—from intimate chamber writing to large ensemble and commercial production.
THE APPROACH
Arrangement should feel inevitable.
The best arrangement doesn’t call attention to itself simply because it is elaborate. It clarifies the musical idea, supports the artist, and gives every instrument a reason to be there. I approach each project from the music outward—considering register, texture, pacing, orchestration, and the identity of the artist and players involved.
The goal is not more notes. It’s the right musical architecture.
HORNS + LARGE ENSEMBLE
Horns that become part of the record.
Horn writing can do much more than add punctuation. At its best, it becomes part of the rhythm section, answers the vocal, creates countermelodies, and gives a production energy of its own. I approach each arrangement from the song outward—balancing impact with space and writing parts that feel natural to both the players and the production.
“Lovely Day” — Wil Merrell
Horn Arrangement · Piano · Production
Rather than treating the horns as occasional accents, the arrangement gives them an active role throughout the track—creating rhythmic figures, melodic responses, and ensemble moments that feel native to the song.
More horn + ensemble work
“E-Dawg” — David Rodgers
Composition · Horn Arrangement · Piano
Counterpoint and interlocking horn lines push the writing toward the more compositional end of the spectrum—showing how horns can become part of the architecture of a piece.
“One More Year With You” — Keb’ Mo’
Horn Arrangement · Keys
A more restrained approach, with concise horn writing designed to sit naturally inside the production and support the song without calling attention to itself.
“Skylark — Wil Merrell
String Arrangement · Piano · Production
Built around an existing song, the string arrangement becomes one of the track’s primary musical voices rather than an added layer. The writing develops alongside the song—moving between support, counterpoint, texture, and more prominent ensemble passages while preserving the character of the original.
More string work
“Empty” — Bucky Heard
String Arrangement · Produced by Bob Bullock
Strings written to live inside a full Nashville production—adding movement and emotional weight while leaving space for the vocal, rhythm section, and other elements of a dense mix.
“Snow Globe Scene” — Rebecca Correia
String Arrangement
A more exposed, emotionally driven use of strings, with the ensemble helping shape the rise and fall of the song rather than functioning primarily as background texture.
COMPOSITION FOR MEDIA
Music in service of story.
Writing to picture requires a different kind of listening—supporting emotion, pacing, character, edit points, and narrative without competing with what is happening on screen. My media work ranges from standalone commercial scoring to ongoing episodic television.
ORIGINAL MUSIC TO PICTURE
Vanderbilt University
Original Score · Commercial
Original music composed specifically to picture, with the score shaped around the pacing, visual transitions, and emotional arc of the piece. The music develops with the film rather than simply sitting underneath it—helping create momentum and reinforce the story without overwhelming the message.
EPISODIC TELEVISION
Leanne — Netflix
Composer · Mix Engineer · Seasons 1 & 2
As part of the composing team for both seasons of Netflix’s Leanne (developed by Chuck Lorre, Susan McMartin, and Leanne Morgan), I contribute music within the fast-moving language of episodic comedy—where a cue may have only seconds to establish tone, support a transition, reinforce a character moment, or help shape the rhythm of a scene.
The work demands economy as much as creativity: understanding what a scene needs, communicating an idea quickly, and writing music that supports the storytelling without drawing attention away from it.
ARRANGING + COMPOSITION
Commission an arrangement.
From a single song to a full ensemble project, arrangements are developed around the instrumentation, players, performance setting, and artistic direction.
Projects are quoted individually based on instrumentation, length, complexity, deliverables, and timeline.
SMALL ENSEMBLE
Jazz combos · chamber ensembles · rhythm section
HORNS
Horn sections · brass · woodwinds
STRINGS
Quartet · chamber strings · larger sections
LARGE ENSEMBLE
Big band · full scores · performance-ready parts
CUSTOM ORCHESTRATION
Project-specific instrumentation and mixed ensembles
DELIVERABLES CAN INCLUDE
Full score · Individual parts · PDF + notation files · Reference mockup · Audio stems / MIDI where applicable
“Original, relevant, very creative, and honest.”
— Marcus Finnie · Kirk Whalum, Donna Summer, Larry Carlton
Let’s make something.
ARRANGING + COMPOSITION
Tell me a little about what you’re working on. I’ll follow up with availability, any questions, and next steps.