Thank you for viewing my online composition portfolio for Princeton University. First, I have scores and recordings, with specific listening notes for each, including suggestions for a brief [3 minutes or less] “tour” of each piece, marked with (**) double asterisks. At the end of this page, I have included links to my resume, statement of purpose, and writing sample (an extensive analytical essay) for your convenience.
scores and recordings
1. “Most poems go unread” (2016) for septet: flute, clarinet, percussion, piano, violin, viola, cello
If you listen to one entire piece, make it this one. *Alternately, listen to the first 2:40, then skip to 4:40 (m.88, pg.7 in the score) and listen to the end.
**If you are very short on time, listen from 0:00 to 0:30 seconds, skip to 1:00 (m.17, p.2) and listen until 2:00 (m.41), skip to 3:00 (m.57 p.5) and listen until 3:50, then finally skip to 4:50 (m.74, p.7) and listen to the end. [3 minutes total listening time]
Performed by the Aspen Contemporary Ensemble conducted by Tim Weiss on June 29th, 2016 at the Aspen Music Festival and School
Tim Weiss, conductor
Raoul Cho, flute
Juan Gabriel Olivares, clarinet
Tengku Irfan, piano
Hannah Weaver, Percussion
Soohee Min, violin
Andrew Stock, viola
Richard Narroway, cello
2. “Pillars, erased” (2015) for orchestra
*Please start from the beginning and listen to at least 0:50 (it is very quiet at 0:27); you may then skip to 3:04 (m.51, p.8) and listen to 7:30, the heart of the piece; finally skip to 9:20 (m.154, p.25) and listen to the final minute.
**If you are very short on time listen to the first 30 seconds; then 4:18 (m.82, p.13) to at least 5:45 (ideally to 7:30); and finally 9:20 (m.154, p.25) to the end. [3 to 4 minutes total listening time]
Recorded live by the Peabody Symphony Orchestra, conducted by Teri Murai, on February 16, 2016. Winner of the 2015 Macht Orchestral Composition Prize.
3. “Moment(s): Various/Concerted” (2016) for ten players
**This work unfolds very slowly, so I suggest dropping the needle at various points to get a sense of it: first, listen from 0:30 (m.7, p.2) to about 1:15 (p.4); then listen to just a few seconds starting at 2:48 (m.35, p.5-6) to about 3:10 (m.39), noticing the slow accumulation that begins just before in m.31; then skip to 13:57 (m.130 [second time], p.25) and listen to the end. [3 minutes total]
If there is time to hear something from the middle of the piece, I suggest the minute of music starting at 8:42 (m.87 [second time], p.16).
Written for the Omnibus Ensemble, especially for the “Omnibus Laboratorium: Peabody – Tashkent” and was premiered by Omnibus Ensemble in Tashkent, Uzbekistan on 12 March 2017. Combining traditional Uzbek instrumentation and microtonal ornaments with an overtone-derived harmonic language.
Instrumentation: nay (alto and soprano) – oboe – percussion (suspended cymbal, crotales) – chang (or santur), –tanbur – two violins – viola – cello – contrabass
4. [EXTRA SCORE] “Before the world was made” (2016) for soprano and piano
I am including this work here as a contrast and compliment to the instrumental works above, and as an example of my vocal writing. The recording itself is of fairly low quality, but the performance is very good and I am proud of the composition. **If you are able to listen to only part of this song, I would encourage you to listen to the first 20 seconds, then skip to 1:30 (m.30, p.7) and listen to the end.
The second of six songs in the cycle, Yeats Songs, this live recording of “Before the world was made” is from a performance by soprano Amanda Williams and pianist Joshua Espinoza, who premiered “Before the world was made,” “Death of a Hare,” and “Old Memory” on March 19, 2017 at Church of the Redeemer in Baltimore, MD. The complete cycle will be performed in its entirety for the first time on March 21, 2019 at Carroll Community College.
Score for the complete cycle (this song begins on page 6): Yeats Songs 2016 – EdmundScottMiller
5. [EXTRA SCORE] “Abridged” (2018) for “Pierrot Ensemble”
This extra score is included here as an example of a piece composed this year. Written for the Atlantic Music Festival, it was premiered in Waterville, Maine on July 21, 2018. “Abridged” showcases some of the ideas that I am most interested in pursuing further, including quarter-tonal harmonies and musical repetition. **Please listen to the first 30 to 45 seconds, and then skip to 4:04 (m.80, p.7).
Score: Abridged – EdmundScottMiller
Chad Goodman, conductor
Brittney Balkcom, bass flute
Jarrett Hoffman, clarinet
Magnus Villanueva, piano
Nicholas Hatt, violin
Jordan Galvarino, cello
supplemental PDF documents:
statement of purpose:
writing sample (analytical essay of Georg Friedrich Haas’s in vain):