Listed below are premieres of works I have given since 1995:

Shepard—David Bithell, for vibraphone quartet, Left Edge microFestival of Contemporary Performance, Ashland, OR, 2017
Cavitation.Study.01—David Bithell, for 3 artists, 3 musicians, and electronics/video, Left Edge microFestival of Contemporary Performance, Ashland, OR, 2017
from above—David Bithell, for trumpet, vibraphone, and electronics. City University of New York/Queensborough Community College, Bayside, NY, 2017
Clicktrack—Mark Applebaum, for percussion ensemble. With Southern Oregon University Percussion Ensemble, Ashland, OR, 2016 (west coast premiere)
Bound—Jared Brown, for flutes and percussion (Caballito Negro), Sacramento, CA, 2016
Natural History—Michael Gordon, for orchestra, chorus, 30 antiphonal brass and percussion players, and Native American drum and singers. Britt Festival Orchestra commission to commemorate the 100th anniversary of the National Parks System, Crater Lake, OR, 2016
Mycroft’s Resolve—Cornelius Boots, for saxophone and drum set (with Rhett Bender). Ashland, OR, 2016
Cascade—Colin Malloy, for percussion ensemble and pre-recorded audio. With Southern Oregon University Percussion Ensemble, Southern Oregon Arts & Research Conference (SOAR), Ashland, OR, 2016
Collective Resonance—Bryan Jeffs, for antiphonal singing bowls and audience interaction. Oregon Fringe Festival, Ashland, OR, 2016
Ashland, Oregon— Bryan Jeffs, pictographic score for open instrumentation. Oregon Fringe Festival, Ashland, OR, 2016
Twos and Threes—Erik Griswold, for solo prepared vibraphone. Washington Percussive Arts Society Day of Percussion—University of Washington, Seattle, WA, 2016
The Shady Lady and the Rebel Frog—Bryan Jeffs, for percussion ensemble. With Southern Oregon University Percussion Ensemble, Ashland, OR, 2015
Three Movements for Recital Hall—Bryan Jeffs, site-specific work for the Southern Oregon University Music Recital Hall as the instrument. With Southern Oregon University Percussion Ensemble, Ashland, OR, 2015
That Which Colors the Soul—Tessa Brinckman/Terry Longshore, for hybrid flute, tabla, electronic percussion, waterphone, and bottles. With Caballito Negro at the Festival of New American Music, Sacramento, CA, 2015
This Is Like Jazz!—Ivan Trevino, for contrabass flute, marimba, and spoken word. With Caballito Negro at the Festival of New American Music, Sacramento, CA, 2015
Truck Dog—Terry Longshore, original music for theatrical work. With James Donlon at Lunacy Theatre Festival, Oregon Center for the Arts at Southern Oregon University, 2015
Kangaroopak Sardha—Terry Longshore, for percussion ensemble. With Ba Da Boom Percussion at “Music of the Pacific Rim, Queensland Conservatorium, Griffith University, Brisbane, Australia, 2015
AMEN—Elliott Cole, for percussion ensemble. With Steven Schick and Southern Oregon University Percussion Ensemble, Ashland, OR, 2015 (west coast premiere)
The Rebel Frog Wassails—Bryan Jeffs, for percussion ensemble. With Southern Oregon University Percussion Ensemble, Ashland, OR, 2014
Contactual Constellations—(directed) Bryan Jeffs, for pictocraphic drum head scores and live video projection. With Southern Oregon University Graduate Percussion Group, Percussive Arts Society International Convention, Indianapolis, IN, 2014
Composition Machine #1—Mark Applebaum, for solo percussion. Ashland, OR, 2014
Flood.Control—Terry Longshore, for percussion ensemble. Installation piece composed in response to art installation, Flood.Control, by Avantika Bawa – Schneider Museum of Art, Southern Oregon University, Ashland, OR, 2014
The Burden to Inspire Joy—Jeff Richmond, for choir and percussion ensemble. With Southern Oregon University Chamber Choir and Percussion Ensemble, Ashland, OR, 2014
Peace in Our Time—Jodi French, for choir and percussion ensemble. With Southern Oregon University Chamber Choir and Percussion Ensemble, Ashland, OR, 2014
The Rebel Frog Goes Dancing—Bryan Jeffs, for percussion ensemble. With Southern Oregon University Percussion Ensemble, Ashland, OR, 2014
Sex, Drugs, and Poetry—Jeff Richmond, for percussion ensemble. With Southern Oregon University Percussion Ensemble, Ashland, OR, 2013
X @ Y for Z—Bryan Jeffs, for percussion ensemble. With Southern Oregon University Percussion Ensemble, Ashland, OR, 2013
30—Mark Applebaum, for percussion solo, percussion quartet, and percussion septet. With Southern Oregon University Percussion Ensemble, Ashland, OR, 2013
5 Square—Jeff Richmond, for flugel horn and marimba. With Jeff Richmond, Ashland, OR, 2012
A Maroon Hog’s Rebel Frog—Bryan Jeffs, for percussion ensemble. With Southern Oregon University Percussion Ensemble, Ashland, OR, 2012
Encounters XVI—William Kraft, for flute and percussion. With Caballito Negro, Ashland, OR, 2011
40 Cryptograms—Mark Applebaum, pictographic score for open instrumentation. With Skin & Bones, University of California. San Diego 50th Anniversary Festival, 2011
Derail—Terry Longshore and Brett Reed, for marimba duo. With Skin & Bones, University of California. San Diego 50th Anniversary Festival, 2011
La Alma del Árbol, la Resonancia de una Rama—Chris Burton Jácome, for flamenco guitar, marimba quartet, and cajón. With Chris Burton Jácome and Compás, Ashland, OR, 2010
Wind and Weaponry—Dan Maske, for saxophone orchestra and drum set. With Siskiyou Saxophone Orchestra, Ashland, OR, 2009
The Clay Cart—Andre Pluess, new music and adaptation of Sansksrit drama by Sudraka; Andre Pluess, composer; Bill Rauch, director, Oregon Shakespeare Festival, 2008
Tracy’s Tiger—Linda Alper, Douglas Langworthy, Penny Metropulos, and Sterling Tinsley; based on the novella by William Saroyan, Oregon Shakespeare Festival, 2007
Double Quartet—Mark Knippel, for saxophone quartet and percussion quartet. Southern Oregon University, 2007
Tangential Space—Todd Barton, marimba solo, 2006
Theme in Search of Variations—Mark Applebaum, for percussion trio. Stanford University, 2004
Têmpulo—Bruno Ruviaro, Stanford University, 2004
Esbozos del Otro—Christopher Trebue Moore, Stanford University, 2004
Perigon vs. Dr. Saw—Per Bloland, Stanford University, 2004
Variation for Percussion Trio in Multiple Tempi—Justin Yang, Stanford University, 2004
Parallax—Christopher Trebue Moore, Stanford University, 2004
Sprunkadelic—Dan Pinkston, Ashland, OR, 2004
Decameron—Composed collaboratively by Mark Applebaum, Jason Federmeyer, Chris Moore, Alexander Sigman, Yaron Sokolov, and Justin Yang; Stanford University, 2003
Mais où est le Perroquet?!—Yaron Sokolov, for percussion solo, Stanford University, 2003
The Silver Apples of the Moon—William Ashworth, Ashland, OR, 2003
Concerto for Florist and Ensemble—Mark Applebaum, Stanford University, 2002
Ephrin—Todd Barton, for percussion solo, Ashland, OR, 2002
Goatsong—Michael Theodore, for tabla solo and electronics, Ashland, OR, 2002
Meldings—Todd Barton, for alto saxophone and vibraphone. Ashland, OR, 2001
Grok—Stephen Truelove, for percussion trio. Ashland, OR, 2001
Dum Taka Zing Bop—Terry Longshore, collaboration with Suzee Grilley Dances, Ashland, OR, 2000
Entre Funérailles II—Mark Applebaum, vibraphone solo, Medford, OR, 2000
Letters From the Front—Bruce Donnelly, with the San Diego Symphony Orchestra, 2000
“Heaven, Earth, Mankind—Symphony 1997”—Tan Dun, on the Imperial Bells of China with the San Diego Symphony Orchestra—San Diego Museum of Art, 1999 (west coast premiere)
Go, Dog. Go!—Mark Applebaum, for percussion duo. With Skin & Bones, San Diego, 1999
PACEM Fanfare—Stephen Sturk, San Diego, 1999
Strings Attached—Erik Griswold, for six snare drummers and ropes. With red fish blue fish, San Diego, 1998
Nam-shub—Michael Theodore, as soloist with ensemble SONOR, San Diego, 1998
Boom—Terry Longshore and Brett Reed, collaboration with choreographer Stephanie Nugent, San Diego, 1998
Twitch—Robin Cox, San Diego, 1998
Passing Cars—Terry Longshore and Brett Reed, for percussion duo. With Skin & Bones, La Jolla, CA, 1998
“∂”—Terry Longshore and Brett Reed, for percussion duo. With Skin & Bones, La Jolla, CA, 1997
Force Fields—collaboration with Malashock Dance & Company, San Diego, 1997
Mixmaster—Terry Longshore and Brett Reed, collaboration with sculptor John Reed. With Skin & Bones at Percussive Arts Society International Convention (PASIC)—New Music & Research Day, Anaheim, CA, 1997
Flip the Bird—Terry Longshore and Brett Reed, for percussion duo. With Skin & Bones, La Jolla, CA, 1997
Foot Fetish—Terry Longshore and Brett Reed, for percussion duo. With Skin & Bones, La Jolla, CA, 1997
Emerging Landscapes—Adam Greene, percussion solo, San Diego, 1997
pushit—Mark Danks, percussion solo, San Diego, 1997
In Between States—Erik Griswold, San Diego, 1997
2^0 for 2^1 with 2^2—Mark Danks, San Diego, 1997
Pictures of Israel—David Hush, San Diego Jewish Arts Festival, 1997
Plank—Terry Longshore and Brett Reed, for percussion duo. With Skin & Bones, La Jolla, CA, 1997
that’s what it is, grape!—Brett Reed, San Diego, 1996
Interregna—Mark Osborn, San Diego, 1996
Quantic Class—California Ballet, San Diego, 1996
Triple Concerto—Mark Applebaum, San Diego, 1996
Gothic Molly—Paul Abbott, San Diego, 1996
Boom—Terry Longshore and Brett Reed, for percussion duo. With Skin & Bones, La Jolla, CA, 1996
Slatdance—Terry Longshore and Brett Reed, for percussion duo. With Skin & Bones, La Jolla, CA, 1996
…yeah, no…—Terry Longshore and Brett Reed, for percussion duo. With Skin & Bones, La Jolla, CA, 1996
Antiphonal Spirals—Chinary Ung, Long Beach Symphony, Long Beach, CA, 1995
Survivors in Pale Light—James Drew, San Diego, 1995
The Orchestra Games—Gregory Smith, Cabrillo Music Festival, 1995
Mixing Bols—Terry Longshore and Brett Reed, for percussion duo. With Skin & Bones, La Jolla, CA, 1995
Purple & Spice—Terry Longshore and Brett Reed, for percussion duo. With Skin & Bones, La Jolla, CA, 1995
Tharn—Terry Longshore and Brett Reed, for percussion duo. With Skin & Bones, La Jolla, CA, 1995