Works

large ensemble

Reveal: 8’30 (2016) for orchestra [2(2=pic.).2.2(2=BCl.).2—4.2.3.1—timp.perc(2).hp.—strings]. Written to accompany a scene from Rupert Julian’s  Phantom of the Opera (1925) for the Occasional Symphony.  Performed by the Occasional Symphony. Revised version for reduced instrumentation read by the Atlantic Music Festival Orchestra.

Essay for Strings: 5′ (2016) for string orchestra

As if it were now: c.12′ (2015-16) for orchestra (commissioned by the Western Connecticut Youth Orchestra) [2.2.3.2—4.2.3.1—timp.perc(2)—strings]

Dis(En)close: 12′ (2015) for concert band  [Score, revised 1Feb2016]

Pillars, erased: 9’30 (2014) for orchestra [2.picc.2.corA.2.bcl.2.cbn—4.3.3.1—timp—perc(2)—hp—pft—strings]

Solus: 4′ (2012) a credulously solemn piece for orchestra

instrumental ensemble

String Quartet: c.18′ (2018-2022) premiered by Paula Garcia, Leah Asher, Wendy Richman, Michael Nicolas

Slow is smooth, smooth is fast: c.6’30” (2022) for percussion quartet. Premiered by Jonathan Collazo, Gabriel Costache, John Ferrari, Daniel Matei at Queens College, CUNY.

Chemins Perturbé: c.7′ (2021)for ensemble of flute, clarinet, guitar, mezzo soprano, violin, viola. Composed for and premiered by Nebula Ensemble in Denver, Colorado. May be paired with “Punctuated Movements” for solo violin, with an identical violin part to Chemins Perturbé.

Abridged: c.7′ (2018) written for the Atlantic Music Festival Contemporary Ensemble

At that point (again): c.5’30” (2017) written for Nebula Ensemble. Quartet for tenor saxophone, B-flat trumpet, viola, and cello. 

Storied: c.10′ (2017) written for the Baltimore Classical Guitar Society (BCGS). Duet for 2 guitars (in scordatura). 

Moment(s): Various/Concerted: 12-15′ (2016) written for the Omnibus Ensemble. For ten players: alto and soprano nay (or similar wooden flute), oboe, percussion, chang (santur), tanbur, 2 violins, viola, cello, bass.

Trumpet and Piano: c.5′ (2016) duet for trumpet and piano (adapted from ‘Trumpet and Percussion’)

Trumpet and Percussion: c.5′ (2016) duet for trumpet and percussion (vibraphone, triangle, two cowbells)

Most poems go unread: 6′ (2016) for septet [fl.cl.—perc.pf.—vn.vla.vc]

Fanfare (‘Spectral Fanfare’): c.1’45” (2016) for brass quintet

Portrait F: 6-7′ (2015) for prepared B-flat trumpet and muted horn (adapted from two-trumpet version)

Stanza: I. an echo, II. beneath, III. sudden, IV. quiet –  3′ (2015) for string trio (written for members of the Beo String Quartet at the Charlotte New Music Festival)

Portrait: 6-7′ (2015) for two B-flat trumpets (with one melodica and one cup mute)

Organum: 9-10′ (2013) for two alto saxophones

Rise (Music for Dancing on Blume’s ‘The Rock’): 4’30” (2013) for tuba-euphonium quartet

Edification: 5′ (2012) for string quartet

Fanfare: 1’30” (2010) for two trumpets

minimalist music: 3′ (2010) a fun, frivolous work for saxophone quartet

voice and ensemble

Now, during the time: c.12′ (2023) for baritone voice and string quartet. Based on a text by Lydia Davis. Special thanks to Christopher Herbert, Josh Modney, Yezu Woo, Martine Thomas, and Mariel Roberts. Composed in a 33 equal divisions of the octave.

Within frames, clouding breath: c.12′ (2020) for baritone voice, bass clarinet, trumpet, trombone. Composed for and recorded by loadbang at the CUNY Graduate Center.

Anu: 5′ (2015) for soprano, alto saxophone, guitar, cello

Artifact: 6′ (2013) for soprano, alto recorder, guitar, violin, and 7-string bass viola da gamba

Semantics is for Poets: 6-8′ (2012) for baritone voice, clarinet/bass clarinet, trumpet, trombone (loadbang ensemble)

voice plus one (art songs)

Yeats Songs, for soprano and piano. Texts by William Butler Yeats: ca.21′ (to be performed separately or as a set in the following order):

When You Are Old: 6’00 (2011, revised 2015)

Before the World Was Made: 3’15 (2015)

Death of the Hare: 2’45 (2015)

Old Memory: 2’45 (2012, revised 2015)

Against Unworthy Praise: 3’30 (2015)

Memory: 2’45 (2015)

Waldrop Songs, for tenor and piano. Texts by Keith Waldrop: (2019 – present; composition in progress and length of cycle undetermined. Please reach out at scottmusicmiller(at)gmail(dot)com if you are interested in one or more songs!)

Dickinson Fragments, for baritone and piano, based on the Emily Dickinson envelope poems: (2024 – present; composition in progress and length of cycle undetermined. Please reach out at scottmusicmiller(at)gmail(dot)com if you are interested in one or more songs!)

chamber music with electronics

Brightly Drawn: c.12′ (2021) trio for violin, cello, and electronics. Composed in 36-tone equal temperament (sixth tones) and with specially-designed software instruments built by Simon Kanzler. Thanks to Simon, Johnna Wu, and Issei Herr for their collaboration and premiering the piece at the CUNY Graduate Center.

Palimpsestuous (again, already): c.2’20” (2020) for reed quintet. Composed for and premiered by Civitolis Quintet. Requires prerecording and slowing down an oboe multiphonic.

After this, rapidly: c. (2019) for solo bass and live electronics. Composed in collaboration with Evan Runyon and Sam Wolk.

solo instruments

the rest rubble and nettles: c.13′ (2024) for solo violin. Commissioned and premiered by Johnna Wu

and passes, leaving behind [video / audio] – for solo percussionist (two triangles, quiet unpitched metal, bell tree, 4-5 crotales strung together like a bell tree): 4-5′ (2015) written for Nate Gworek

Repeat, Descend, Recede – for solo cello (or double bass tuned in fifths): 6′ (2015, ed. 2016) [score]

…washed out to sea – for solo double bass: 6’30 (2015)

A Window Opens, for solo violin: 5-10′ (2014)

Nocturne for solo piano: 10′ (2013)

Étude for solo double bass: 2′ (2013)

Villanelle for solo double bass: 6′ (2011)

choral

Come Again: 3’30” (2012, revised 2015) arranged from the John Dowland lute song, mixed choir a cappella

Odi et Amo: 6′ (2010, revised 2011) mixed choir a cappella

sacred

Ave Maria: 2′ (2018) SATB a capella

My God (the Lord God is my help): 4’30” (2018) SATB a capella, setting of Psalm 22:1 and Isaiah 50:7

Responsorial Psalms: (2018) SATB with optional descant: Psalm 24:7-10 [Saturday, Feb. 2, 2019] & Psalm 71:1-6, 15-17 [Sunday, Feb. 3, 2019]

stage / dramatic

Randall’s Leaf — chamber opera in one act: 38′ (2013) for baritone, tenor, mezzo-soprano, soprano, and oboe, clarinet, horn, piano, violin, viola, cello