Original Music for Television and Film
My compositions have appeared on Netflix, CNN, and FX—ranging from comedic orchestral to cinematic, groove-driven, and tension-focused work.
Music for Picture
Since 2012, I've been composing music for television, film, and global advertising. My work has been featured on Netflix, FX, CNN, National Geographic, and many more. Recent work includes music for a Krispy Kreme campaign featuring Shaquille O'Neal, Geraldo Rivera's Murder in the Family, and Jerry Seinfeld's Comedians in Cars Getting Coffee.
How I Work
Music doesn’t live in isolation—it works as part of the edit.
I collaborate with directors, editors, and producers to develop cues that fit the pacing of the scene, the rhythm of the dialogue, and the overall tone of the project.
That could mean building momentum or sometimes it means getting out of the way.
Either way, the goal is the same: to support the story in a way that feels natural and intentional.
When the story matters, the music should be built for it.
I work with picture—timing, pacing, and tone—so the music feels connected to the moment, not added after the fact.
Every cue is shaped to support the scene, not compete with it.
What I Do
Available for:
Custom scoring for television, film, and commercial projects
Scene-specific composition and cue development
Collaborative scoring aligned with picture and edit
When the music fits, you don’t notice it—you feel it.
If you’re working on a project and want the music to feel like part of the story, reach out. Share a bit about the project, timeline, and what you’re hearing, I’ll take it from there.
FAQ's
Have more questions? I'm happy to answer them.
I work across television, film, and commercial projects—anything where the music needs to support the story and feel connected to the picture.
My focus is custom scoring.
The goal is to create something that fits the timing, tone, and pacing of the scene—not just drop in a track.
I work directly with picture—developing cues around the edit, the rhythm of the dialogue, and the overall tone of the project.
We refine from there, making sure the music fits naturally and supports what’s happening on screen.
It depends on the scope, but I can usually produce 3 to 4 minutes of music per week.
The process includes up to two rounds of refinement to make sure the music fits the project. Additional revisions can be accommodated if needed.
Yes.
References are helpful for direction, and I can work within a wide range of styles while still keeping the music feeling natural and cohesive. Check out my demo reel videos to hear the styles I can cover.
Yes.
I can provide stems, cutdowns, and alternate mixes as needed for editorial flexibility. Just let me know what you are needing.
A rough cut or scene, a sense of direction, and any reference material you have.
From there, I’ll develop initial ideas that we can shape into the final cue.
Projects are quoted based on scope, length, and production needs.
Revisions are built into the process so the music fits the final cut.
Reach out with details about your project—timeline, format, and where you are in the process—I’m happy to schedule a video chat or phone call as well.