The CD is ready for pressing, new pieces are done, and many performances and recordings coming your way soon!

The CD is fully funded!!! WE DID IT! That’s it! It’s all over! Thank to everyone one last time, Stephen, Alaina, Linda, Samuel, Jonathan, Erin, Mia, and Luke for your amazing talents, and dealing with the constant Facebook messages about this. Thanks to Nick Zoulek one more time for the infinite wisdom and help, and Caiman for talking me off the ledge and getting me through it. Music is coming! Thank you so much to everyone who pledged, donated, shared the link, told someone about it, fed the algorithm, or just offered kind words about the project! IT’S DONE.

I'm putting out a CD!

I've very fortunate to have been given the opportunity to release a record of my music with Edition Wandelweiser Records. EWR hosts an amazing catalog of music, with a roster of some of the most exciting and talented artists in the field today. In The New Yorker, Alex Ross described the Wandelweiser as "a powerful influence on music of the new century." I'm so excited to have an opportunity to work with these amazing folks and collaborate on this release, however, I need a little help.

What will you be funding?

Simply put: just the production costs!

In a little more detail: the album has already been written, recorded, mixed, and everything else! Distribution is handled, promotional materials made, and all the pieces of the board are set! Now comes the production... all releases from Edition Wandelweiser Records are collaborative projects, and are hand-packaged in-house in Haan, Germany. This keeps things personal, keeps things humble, and keeps the DIY collaborative process alive!

Collaboration, you say?

Yes! For me, there is nothing more important than a thriving community of people who support each other. I am always looking to write for new performers, ensembles, dancers, theaters, animators, directors, or artists, and I’m always interested in performing myself. Music is for listening, sharing, and engaging and that's exactly what this project is about! Everyone involved, from recording to production, I consider a friend. I'm not interested in making this album to sell copies and make money; I'm interested in sharing ideas with as many people as I can so that I can help create a new dynamic or situation with those around me. I’ve enjoyed the journey on my own enough that I would not want anyone who might enjoy it to miss out.

I’ve been in Germany for about a month now. Some amazing things are coming down the road…

I’ve been interested in the idea of “place” in my music, and how music can come to represent a place, space, or an idealized version of one. For this piece, the strings are tuned to the fundamental resonant frequencies of my bedroom, while the singing ensemble performs at the American standard, A=440 HZ. In other words, a naturally occurring phenomena (resonance) interacts with human-chosen institutions (440 Hz). To me, this dichotomy has some parallels with how our human presence interacts with the natural world. I am a natural person, but my residence is a synthetic interaction.

I’m very excited to share my new accordion solo! White and Lavender is about subtlety, pulse, and breath. The colors white and lavender are distinct when placed next to each other, maintain a similar complement, and easily blend between each other; the accordion is a beautiful instrument capable of demonstrating this effect. White and Lavender was written for Panagiotis Andreoglou in Bowling Green, Ohio, USA, and will always remind me of that time.

I got the recording of The Location of Lines back from the BGSU new music festival! 

I’ve been doing a lot of research recently on ink wash painting. I think the most immediate thing that stood out to me is that, on some base level, this medium can be seen as a study of diffusion and envelope. There is an attack, sustain, decay, and release in each stroke. As ink is pulled, it loses density. In a way, this makes the final product a documented temporal experience. Careful articulations of color within a field of negative space create an organic blend and transition of static and kinetic energy with the existing surface and the deliberate additions to it. Once painted, it cannot be changed or erased. This makes the medium physically and mentally demanding process as well.

Technicalities aside, there are evocative implications within the philosophy of the technique. Although I have been unable to find a single and specific source for the theory, an explanation found on Wikipedia truly resonated with me and my compositional approach. Stating; The goal of ink and wash painting is not simply to reproduce the appearance of the subject, but to capture its spirit. To paint a horse, the ink wash painting artist must understand its temperament better than its muscles and bones. To paint a flower, there is no need to perfectly match its petals and colors, but it is essential to convey its liveliness and fragrance. East Asian ink wash painting may be regarded as a form of expressionistic art that captures the unseen. In landscape painting, the scenes depicted are typically imaginary, or very loose adaptations of actual views, from which the artist may have been very distant.”

Lighter Shades, to me, plays out as a distant and happy tapestry of idealized memories: a Personal mythology of an imaginary landscape. Perhaps I was never there; I don’t remember anything anyone said or exactly what I saw, but I remember what it felt like. I hate to use the term “abstract expressionism” (or abstract impressionism), but nothing is concrete and yet there is still something to smile about. A clouded feeling of warmth and comfort. Foggy, but certainly not dark.

Garrison Gerard - Conductor
Alaina Clarice - Flute
Morgan Horning - Soprano
Ted Powell - Piano
Mia Detwiler - Violin
Michael Moore - Viola
Kourtney Newton - Cello

There’s a lot of new music coming very soon. It has been a really crazy few months with lots of work being done. That being said, I’ll be updating my website over the coming weeks.

Performed by 3dB Vocal Ensemble - David Breen, Daniel Baumgartner, and Daniel Bayot Special thanks to Daniel Bayot for all of his help and support while working on this piece. Maybe was written as an effort to abstract emotion from the human voice. The deeper and deeper I dug into the piece, and the more I discussed with Daniel Bayot for whom the piece was written, the more and more I realized how difficult of a task this would be. Not having written much music about my personal life, I decided to dig deep and reflect on phrases that were particularly appropriate for how I was feeling at the time. Confusion, self-doubt, anxiety about the future, and a little resentment were poisoning my day-to-day routine. With that sort of rushing and clouding state of mind, the texture of words and phrases became the primary source for the piece. It’s difficult to say exactly where this piece came from, but the results brought me some sort of relief, and I’m incredibly thankful to have gotten to work with such an amazing ensemble.

New projects on the way, but more importantly, After a… hectic process of applications, interviews, and decision making, I am extremely excited to announce that I will be attending the University of North Texas in pursuit of a PhD in music composition at the College of Music as well as the Center for Experimental Music and Intermedia. UNT hosts an amazing program and is the largest music school in the country with 1500 enrolled students, and I am so excited to be one of them. Not only that, but I will also be one of their teachers! The next steps are going to be crazy, but I cannot wait to take them. There are too many people I want to thank for helping to make this happen, but I especially want to thank Elainie Lillios, Mikel Kuehn, Anthony Donofrio, Darleen Mitchell, and Duane Bierman, Aaron Svoboda, Dave Klein, Rick Mitchell for their unrelenting guidance and confidence from the beginning to today; my family for literally everything, and to Nathan Haering, Adam, and Caiman for their solidarity in this tumultuous process. GO TEAM!


Written by Kory Reeder
Directed by Carolyn Fagerholm
Conducted by Alexander Popovici

Mind: Alissa Plenzler
Heart: Hayley
Eyes: Rachel Thornsberry
Hands: Alexandra Hegedus
Anima: Adelle Blauser

With Brandi Main, violin; Gramm Drennen, cello; Steven Naylor, Piano

Written for the 2018 BGSU MicroOperas Coordinated by Hillary LaBonte

Filmed by Nick Zoulek 

Special Thanks to Jennifer Cresswell, Kevin Bylsma, Jake Heggie, and Dr. Marilyn Shrude for their help in the development of this project.

Program Note:
A Thought was written out of a patchwork of efforts that revolved around the theme of consciousness. The more and more you think about the act of reading, writing, speaking, or thinking, the more is becomes clear that you often don’t actually think about these actions to the point that the become passive. Your mind is away, and the mechanics of the brain takes over. The more you dig, the more it seems that you might not be in complete control. We lie to ourselves about what we want and what we do. When meeting strangers, or when approaching a potential love interest, the amount of uncontrollable thoughts, emotions, fears and anticipations, becomes uncountable. Here, in A Thought, I wanted to show that moment from the inside and expand it to such a length that a moment becomes a scene, and a minute becomes an act, and the mind and body the players.

Synopsis (SPOILERS):
A girl sees another the woman of her dreams across the way. She eagerly wants to introduce herself to her, but struggles with her own self-doubt, past failures, and a day-dreaming anxiety about an unknown, but yearning future together. Eventually, she takes the plunge saying ‘hello’.

New Music Tuesday! I'm really excited to share my piece, "A Face Behind" for percussion and bass flute with the world. Natalie Magana and Nick Fox did an amazing job on this piece, and I can't thank Stephen Hennessey enough for helping me get a recording of this! Hope you enjoy!