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The C minor stem, isolated — a fifth above F minor, Heartbeam's second pitch center. Same material, same composition, just held at a different point of gravity — which is exactly what keeps the crossfade tied to a listener's physiology rather than musical preference. Written for IACS's HEARTBEAM protocol, with Suuvi Bacelar on cello. Read about the study.

The F minor stem, isolated — the root of Heartbeam's two pitch centers, carrying the deepest register and fullest instrumentation before it's crossfaded live against its C minor counterpart. Written for IACS's HEARTBEAM protocol, with Suuvi Bacelar on cello. Read about the study.

Heartbeam is built as one composition held at two pitch centers a perfect fifth apart — F minor and C minor — crossfaded live by the listener's own heart rate. Because it's the same material at both centers, nothing in the music itself pulls a listener toward one side; only their physiology decides. The harmony stays deliberately open throughout — extended ninths, elevenths, sixth/ninths — with no true dominant-to-tonic motion anywhere in the piece. Even its one moment of "ho

Heartbeam is the piece I'm developing for IACS's HEARTBEAM: Heart-Brain Engagement for Adolescent Meditation protocol — a heart-brain neurofeedback study for adolescents, funded by the Tiny Blue Dot Foundation. This movement layers the F minor and C minor stems together into their combined stereo mix, 55 BPM, built to breathe with the study's guided sessions. Guest of honor: Suuvi Bacelar joins on cello, bringing a live, human warmth to this movement. Meet Suuvi on the IACS s

The day filming wrapped on Mel Gibson's The Resurrection of the Christ, something arrived — not as an idea I worked out, but as a download I got out of the way of. I sat with it and this is what came through in one sitting. This is an independent spec composition — written in response to the film, not commissioned by or affiliated with Icon Productions or Lionsgate.