The experimentation that I do has a lot to do with tunes and pitches and ways that melodies are put together.

I can't say that there's a common practice that has to do with pitch language or with the way pieces are put together because today, anything is fair game. As far as I'm concerned, my own common practice is a piece that engages the attention of listeners from beginning to end, and doesn't rely on or expect the listener to zone out.

I think of myself as experimenting with different ways of structuring pieces. A lot of it has to do with the computer, of course.

I've had a lot of fun writing percussion music. It feels quite similar to writing computer music. But I found myself in the role of choreographer in a way, worrying about physical movement and such.

Sometimes I imagine that there's a binary division going on in contemporary practice that has to do with chromatic versus diatonic. I notice that I tend to listen in a diatonic sense, that I register a pitch as a member of a diatonic scale, even in a non-tonal context.

The experimentation that I do has a lot to do with tunes and pitches and ways that melodies are put together.

I don't think of my music as being about something.