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Gemini makes use of tuning mutes placed between the piano strings to obtain harmonics for some of the notes. The piece's structure is based around the double identity of an instrument capable of producing two sets of sounds with different timbres.

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Shadows, Stains, Trails, for clarinet and live electronics, explores the relationship between performer and electronic medium. Their interaction parallels that of a painter and a white canvas, in which the electronic component serves as a receptacle for the clarinetist's sound and builds different kinds of residual images with it. The structure of the piece follows the different ways in which this interaction can take place, with a gradual change in the hierarchy between the two elements.

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Colapso uses a variety of instrumental techniques to depict the image of a failing organism. It was written for a clarinet competition organized by my former teacher, Cristiano Alves. It is a short piece, dense with technically demanding passages.

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In 2018, I wrote a piece for string quartet called Bloom, in which I explored composite sounds created by making use of the transition in finger pressure between stopped notes and harmonics in string instruments. When given the opportunity to write for JACK, I thought of the possibilities that could arise from the interactions between these sounds and clarinet multiphonics. After some experimentation, I arrived at this set of particular multiphonics between which the clarinetist can slide, and took them as the basis for this Clarinet Quintet.

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Flow was born out of the instrumental possibilities of both the harp and the flute. In particular, I was attracted by the possible middle grounds between their very different means of sound production and the fresh directions in which they took me. The title of the work reflects its continuous sense of motion from a small-scale perspective in contrast to the relatively slow transformations from a lage-scale point of view.

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In her autobiography, Emma Goldman, the anarchist/feminist who lived in New York around the beginning of the 20th century, writes about a time when she was told not to dance at a party as “it was undignified for one who was on the way to become a force in the anarchist movement.” Goldman confronts this interference by saying: “I want freedom, the right to self-expression, everybody's right to beautiful, radiant things.” From this passage from Living my Life, the famous quote “If I can’t dance I don’t want to be in your revolution” was created.

If I can’t dance… aims to musically represent the ideas of oppression and self-expression. The singers, whose voice is initially physically blocked, gradually emancipate themselves from the instrumental texture of the piano to explore their individuality.

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Impulses is built around the relationship between individual musical gestures and a sonic material under constant transformation. These gestures, like impulses, propel the music forward, moving it through different registers, altering its texture and shape, and increasing its momentum.

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Reações lida com a interação entre diferentes objetos sonoros. A obra propõe um ambiente em que identidades musicais diversas derivam-se umas das outras e influenciam-se mutuamente.

Para caracterizar essas diferentes identidades, a obra faz amplo uso de técnicas instrumentais para a obtenção de sons não convencionais da orquestra em paralelo com o idioma já tradicional dessa formação. Sendo assim, sons facilmente distinguíveis que apresentam o material musical com clareza contrastam-se a timbres ruidosos que naturalmente se misturam.

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Três Poemas sobre Luz é uma obra para orquestra sinfônica em três movimentos, desenvolvendo três idéias poéticas que envolvem iluminação de alguma forma.

O primeiro movimento, Metamorfoses por incidência luminosa, simula as transformações percebidas numa paisagem no decorrer do dia. O movimento central, Bioluminescência, retrata um mundo repleto de seres luminosos. O último poema, Fogo: desconstrução e reconstrução, começa com uma melodia para o corne-inglês. Aos poucos, essa melodia é interrompida e fragmentada por golpes de instrumentos da orquestra, seus fragmentos sendo incorporados e repetidos por outros instrumentos, “derretendo” assim o solo inicial numa massa orquestral.

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A obra é um concerto para clarineta e orquestra, de grande virtuosidade para o solista e com uma escrita orquestral densa e colorida. Os instrumentos dentro da orquestra são tratados de forma quase camerística, com muitos solos e poucos dobramentos.

Três movimentos compõem a peça. O primeiro se inicia de forma misteriosa, logo assumindo um caráter mais enérgico. Uma cadência do solista permeada por intervenções da orquestra conduz ao final anticlimático do movimento. O movimento central é lento e expressivo, misturando o solista com solos dos instrumentos da orquestra. O terceiro e último movimento utiliza a forma e o material temático do primeiro, porém com uma escrita mais enérgica e impactante.