Grand Galop Chromatique (for 5 pianos, 20 hands)
This arrangement of Franz Liszt’s Grand Galop Chromatique was written for the APA piano ensemble at Huntington Beach High School as a means to include an extravagant piano performance in the spring chamber music concert. The piece is arranged for 10 performers, and was written with each of the individual performers in mind.
Double Dragon (for pep band)
This is an arrangement of the title theme from the Super Nintendo game Double Dragon for a pep band/marching band. It was commissioned by Carlo and James Fraracci for the Mountain View High School band.
Jupiter (for marching band)
This is a portion of an arrangement of Jupiter from Gustav Holst’s Planets suite written for a marching band techniques class. Arranging was mostly done by me, but my partner, Adrian Martinez, helped revise and edit the arrangement.
Such Great Heights (for SATB choir and rhythm section)
This arrangement was written as an exercise for a music arrangement class as part of my music education degree. The arrangement was written with a high school-level choir in mind. As part of the class, our arrangements had to change styles from the original; in this case, I changed an indie-pop tune into a reggae song.
Que Nadie Sepa Mi Sufrir (for string orchestra)
This arrangement was written as an exercise for a music arrangement class as part of my music education degree. The arrangement was written with a middle school-level string ensemble in mind, and I reworked the famous cumbia song into a waltz.
Playful Rain in the Burning Belltower (for piano)
This piece was written as an exercise for my university’s modern music techniques class. It is written in a style influenced by the composers Claude Debussy, Alexander Scriabin, and Sergei Rachmaninoff.
Moonlit Tides (for cello and piano)
This piece was written for my university’s modern music techniques class. The piece is written in the style of serial composers using the 12-tone technique, where every twelve note sequence in the piece uses the same sequence of all 12 chromatic pitches. It was written to try to sound as aesthetically appealing as possible within using the constraints of 12-tone music.
Fuga en Do Mineur a 3 Voce (for piano)
This fugue was written for my university counterpoint class. The piece was written as a project in demonstrating understanding and ability to compose in the style of the music of J.S. Bach. This was the culminating project of the class, as it uses contrapunctal imitative techniques in 3 voices, hence the title of the piece.
Invention (for piano)
This invention was written for my university counterpoint class. It is a revision of material from an unfinished suite I was writing for solo piano. It also demonstrates writing in a style similar to the music of J.S. Bach.
D-funk (for marching drumline)
D-funk is a cadence I wrote in high school for drumline. The cadence was written for the level the drumline was at, with idiomatic writing providing elements of groove, interest, and challenge.
MVHS Alma Mater (for band)
This arrangement was written after copies of a previous arrangement of the school song were lost; this arrangement was an attempt to reconstruct the previous arrangement from memory. This is the earliest arrangement for winds in my files.