Large Ensemble | ||
| Talking If You Are Going To Talk (2019) | soprano, SATB chorus, and large ensemble | 7' |
| Springlike (2019) | string orchestra | 6' |
| Plastic Action (2018) | orchestra and noise | 9’ |
| The Living Form Contains Its Own History (2017) | sinfonietta | 9' |
| State (2016) | soloist, women’s choir, ensemble, electronics | 34' |
Chamber & Vocal | ||
| Exi Vr II (2019) | electric guitar, percussion | 6' |
| Half-Life Fragment (2019) | baritone, piano | 4' |
| Kid Carbon (2018) | flute, violin, mouth sounds | 5' |
| Exi Vr I (2018) | violin, viola, electronics | 10' |
| Rhizosphere (2017) | percussion duo, electronics | 13' |
| Future Humans (2016) | violin, piano | 9' |
| Phenotype (2016) | string quartet | 5' |
| Licorice Parikrama (2016) | amplified keyboard instrument, conference call | 19' |
| Fun With Teeth (2015) | saxophone, drum set | 5' |
| Captain Dorcus (2015) | flute, guitar | 3' |
| Enantio (2015) | percussion quartet | 7' |
| Holy Fool (2015) | percussion quartet, electric bass | 13' |
| Three Etceteras (2014) | flute, bassoon, piano | 7' |
| Gestures of a Snowy Egret (2014) | violin, piano | 7' |
| Dust in the Bottomland (2013) | bass voice, piano, electronics | 40’ |
| Banal platitudes of life-or-death importance. (2013) | bassoon, piano | 3’ |
| For Alice (2012) | string quartet | 21' |
Solo | ||
| Songlike (2017) | piano | 5' |
| Noise (2017) | piano | 2-5’ |
| Below This Line (2016) | percussion with electronics | 7’ |
| Cygnet (2015) | bitKlavier | 3’ |
| Circleville (2015) | bitKlavier | 1’ |
For scores/parts, contact me at nathaniel.p.may@gmail.com.