If you have any questions or would like to inquire about a piece, please email me at eboohermusic@gmail.com
Solo
Subsonic/Supersonic (2024)
- Multi-Percussion + Track
Subsonic/Supersonic is a two part piece for Multiple Percussion and Tape. Subsonic explores the sounds of skin while Supersonic explores the sounds of metal. The aim of this piece is to create an intermediate level multiple percussion and tape piece for people who do not have as much, or any, experience in electronics and/or multiple percussion.
Pattr (2025)
- Marimba Solo + Track
Winner of the 2025 Great Plains International Marimba Composition Competition
Pattr is a rhythmically driven work that features a continuous stream of sixteenth notes in the solo marimba part, creating a sense of motion and intensity. This driving texture serves as both a rhythmic anchor and a melodic engine, propelling the piece forward. Surrounding the soloist, the backing track adds rhythmic punctuation and textural contrast. Its contributions subtly evolve throughout the work, building tension and releasing it, all while supporting the marimba.
Chamber Ensemble
The One Who Peers Into The Abyss (2022)
- Percussion Trio
深淵を覗く者 was written and dedicated to my good friend Connor O’Neil. Connor has been studying Japanese since he was 14 and he was the one who got me interested in language study as a hobby. This piece is built around one of his favorite words, 深淵 (Shinnen), which translates to abyss. He came up with this title and I immediately got to work creating an atmospheric piece that tells the tale of a man who loses his mind to the abyss.
Aestus (2024)
- Marimba Sextet on One Marimba
Aestus, meaning surge of the sea, is written for 6 players on one marimba. The piece aims to take the listener on a journey through the surge of the sea, using the marimba and the players as its vessel. Symbolism plays a large role in this piece, so every gesture and motion should be amplified to ensure the audience fully experiences its effect. Players frequently move around and reach over one another, representing the ocean’s ceaseless motion and its overtaking nature. Swells and accent patterns should also be exaggerated, evoking the rise and fall of waves and rough waters.
Glass Pond (2025)
Written for Dither electric guitar quartet
Glass Pond is inspired by Japanese Rock Gardens known as 枯山水, or karesansui. These are traditional Zen gardens that use rocks or sand to create abstract landscapes. These gardens are designed to evoke natural scenes like mountains, rivers, or islands without using actual water. Instead, carefully raked gravel or sand represents flowing water, while rocks symbolize mountains or islands. Japanese rock gardens are closely linked to Zen Buddhism and meditation. They provide a space for contemplation, encouraging mindfulness and inner peace. The act of raking the sand is seen as a meditative practice, reflecting the impermanence of nature.
This piece is meant to symbolize these spaces as well as the journey to inner peace and tranquility.
Pattr (2025)
- Marimba Solo + Percussion Quartet
Winner of the 2025 Great Plains International Marimba Composition Competition
Pattr is a rhythmically driven work that features a continuous stream of sixteenth notes in the solo marimba part, creating a sense of motion and intensity. This driving texture serves as both a rhythmic anchor and a melodic engine, propelling the piece forward. Surrounding the soloist, the accompanying quartet adds rhythmic punctuation and textural contrast. Their contributions subtly evolve throughout the work, building tension and releasing it, all while responding to and supporting the marimba.