Scores & Sheet Music

For British brass band. It begins in stillness and opens out slowly, and it asks a band to be patient with it. Full score plus eighteen parts as separate PDFs, and a zip of the whole set. No percussion.

An E flat horn duet with British brass band, about four minutes, and a comedy. The two solo horns trade blows over the band, and the timing is written to sound chaotic while being exact. Christin Schlicker and Tony Hussey played it with the Las Vegas Brass Band, and I conducted. The video is on the performances page. Full score and parts, PDF.

For British brass band, about five minutes. Silent Night, Carol of the Bells and Up on the Housetop, taken apart and put back in the wrong order, the way a fever would do it. Scrooge's final reckoning: a trembling hand, a midnight clock, and the sound of memory unravelling. The Las Vegas Brass Band played it twice in December 2023. Full score and one PDF of all the parts.

Two movements for solo piano, from a memory of an old house in California. The writing is quiet and it stays quiet. Nothing in it is hard to play, and that's the point. The contrast lives in tone and pacing, not in the fingers. Score, PDF.

Solo piano. A slow piece for the end of the warm part of the year, with long lines and rich harmony. Romantic in the plain sense of the word. Finn Caoile's recording of it is on YouTube. Score, PDF.

Solo piano, written in 2001. The weeping woman of the river, told slowly: long lines, dark harmony, and a grief that doesn't resolve when you'd like it to. About nine minutes. It's the longest piano cue in my Nosferatu score, and you can hear all of it there. Score, PDF.

Two pieces for oboe and bassoon, both about fire: heat, anger, warmth, and what's left when it goes out. There's nowhere to hide in a duet, so tone and pacing carry it. Score, PDF.

For violin and piano, about six minutes. A slow climb, each phrase reaching a little higher than the last, with room to breathe between them. It opens my film Nosferatu: A Record of the Great Dying, so you can hear the whole of it there. Score, violin part and piano part, PDF.

For string orchestra: two violins, viola, cello and bass. Written for Charles Jackson and the Silverado High School Chamber Ensemble, so it's built for a developing group. Warm, lyrical, and playable. Full score, all five parts as separate PDFs, and a zip of the set.

For unaccompanied tuba, written for Daniel Sanchez. A storm at sea in three sections, about four and a half minutes, with the grit left in. Features in Nosferatu, at 45:43. Score with cover page and program note, PDF. Libraries and educational institutions may print copies for their collections.

Solo piano, written in 2001. The weeping woman of the river, told slowly: long lines, dark harmony, and a grief that doesn't resolve when you'd like it to. About nine minutes. It's the longest piano cue in my Nosferatu score, and you can hear all of it there. Score, PDF.

Night terror, for brass band: three trumpets, two horns in F, two trombones, bass trombone, two euphoniums and tuba, at concert pitch. Written in 2002 for brass choir, the piece the Pavor Nocturnus album grew from. Score and parts. This is not the British brass band setting.

Two movements for solo piano, from a memory of an old house in California. The writing is quiet and it stays quiet. Nothing in it is hard to play, and that's the point. The contrast lives in tone and pacing, not in the fingers. Score, PDF.

Two pieces for oboe and bassoon, both about fire: heat, anger, warmth, and what's left when it goes out. There's nowhere to hide in a duet, so tone and pacing carry it. Score, PDF.

Solo flute, written in 2007. One voice, no accompaniment, about ninety seconds. It's the last cue in my Nosferatu score, and it carries the whole credit block alone. Solo flute appears nowhere else in the film, which for end credits is the point. The two short silences inside it are the piece breathing between phrases. Score, PDF.

For violin and piano, about six minutes. A slow climb, each phrase reaching a little higher than the last, with room to breathe between them. It opens my film Nosferatu: A Record of the Great Dying, so you can hear the whole of it there. Score, violin part and piano part, PDF.

Solo piano, written in 2001. The weeping woman of the river, told slowly: long lines, dark harmony, and a grief that doesn't resolve when you'd like it to. About nine minutes. It's the longest piano cue in my Nosferatu score, and you can hear all of it there. Score, PDF.

Solo piano, short and quiet. A private reflection built on one lyrical line and small shifts of harmony under it. Under two minutes. You can hear it in my Nosferatu score at 6:03. Score, PDF.

Solo piano. A slow piece for the end of the warm part of the year, with long lines and rich harmony. Romantic in the plain sense of the word. Finn Caoile's recording of it is on YouTube. Score, PDF.

For violin and piano, about six minutes. A slow climb, each phrase reaching a little higher than the last, with room to breathe between them. It opens my film Nosferatu: A Record of the Great Dying, so you can hear the whole of it there. Score, violin part and piano part, PDF.

An E flat horn duet with British brass band, about four minutes, and a comedy. The two solo horns trade blows over the band, and the timing is written to sound chaotic while being exact. Christin Schlicker and Tony Hussey played it with the Las Vegas Brass Band, and I conducted. The video is on the performances page. Full score and parts, PDF.

Solo piano, written in 2001. The weeping woman of the river, told slowly: long lines, dark harmony, and a grief that doesn't resolve when you'd like it to. About nine minutes. It's the longest piano cue in my Nosferatu score, and you can hear all of it there. Score, PDF.

Night terror, for brass band: three trumpets, two horns in F, two trombones, bass trombone, two euphoniums and tuba, at concert pitch. Written in 2002 for brass choir, the piece the Pavor Nocturnus album grew from. Score and parts. This is not the British brass band setting.

For unaccompanied tuba, written for Daniel Sanchez. A storm at sea in three sections, about four and a half minutes, with the grit left in. Features in Nosferatu, at 45:43. Score with cover page and program note, PDF. Libraries and educational institutions may print copies for their collections.

The book that goes with my score for Murnau's Nosferatu (1922). All twenty-four cues with timings, a still from the film beside each one, the cast card, and the performers. Free when you join the newsletter.

Twelve tracks with a tape-music character. The compositions are unchanged. The audio is reshaped with record-player warmth and tape texture, as if the album were found rather than produced. Stream it or download the whole thing.

A quiet, reflective collection for flute, piano, and small ensemble, recorded exactly as originally written. No reimagining and no treatment. An honest document of my early voice. Where Pavor Nocturnus is the night, Soliloquy is the stillness before it.

Night terror, for brass band: three trumpets, two horns in F, two trombones, bass trombone, two euphoniums and tuba, at concert pitch. Written in 2002 for brass choir, the piece the Pavor Nocturnus album grew from. Score and parts. This is not the British brass band setting.

For wind ensemble with strings. It follows the Fool through the Tarot, one archetype at a time: innocence, risk, revelation, and what comes after. Full score plus thirty-three parts as separate PDFs, and a zip of the whole set.