In Between
​for band (2024, 8 min.)

Instrumentation
• Piccolo, Flute 1-2 (all seconds doubling on Piccolo, if possible), Oboe 1-2, Bassoon 1-2 (second doubles on Contrabassoon)
• B-flat Clarinet 1-3, B-flat Bass Clarinet
• Soprano Saxophone, Alto Saxophone, Tenor Saxophone, Baritone Saxophone
• B-flat Trumpet 1-3, F Horn 1-4, Trombone 1-2, Bass Trombone, Euphonium, Tuba
• Double Bass
• Piano
• Timpani
• Percussion 1-4: marimba, xylophone, bass drum, tam-tam, temple blocks, tambourine, crotales, two glockenspiel, vibraphone, sandpaper blocks, whip, triangle, two flexatones, two tom-toms, suspended cymbal, snare drum
​commissioning info
The wind ensemble version of In Between was commissioned by a consortium led by the Yale University Bands, Thomas C. Duffy - music director, to whom the work is dedicated.
• Hartt School of Music, Glen Adsit
• Jay Watkins, University of Florida
• The Eastman Wind Ensemble, Mark Davis Scatterday
• University of Delaware Wind Ensemble, Lauren Reynolds
​• University of Massachusetts, Matthew Westgate
• Yale University Bands, Thomas C. Duffy - music director 
note
In Between takes its inspiration from movies about making movies, like Federico Fellini's 8 1/2, or David Lynch's Mulholland Drive. In these films, the lives of fictitious filmmakers "off-set" often become intermingled with the film they're attempting to make. I took this premise as a jumping-off point for my composition process, thinking of the orchestra as a crew of filmmakers. Specifically, the whip – a percussion instrument that makes a distinctive whack – stands in for the director's clapperboard. Every time the whip is sounded, it signifies an "action" for the filming to begin, or a "cut" for the filming to stop. The title refers to what happens in between "takes," and the inevitable merging of off- and on-set.