I'm a web application developer, musician and composer from Ontario, Canada. If you want to learn more about me, you can:

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I enjoy reading, coding, gardening, and composing music (mostly for solo piano). I'm a voracious learner, always exploring new ideas and diversions.

In my professional life, I work for a software company in Ontario, Canada as an application developer. I am the founder and administrator of a popular online e-commerce platform called Scubbly, I contribute to a few open-source projects, and I'm also a volunteer moderator at WebmasterWorld.


Works for Solo Piano

Ranging in difficulty from moderate to virtuoso. Sheet music available for sale at my Scubbly store.


My compositions are informed by Conservatory Piano and academic musical training, plus many years of experience performing and arranging wth a small jazz ensemble. Consequently I draw influence from many eras of the piano repertoire including Classical, Romantic, Impressionist, Modern, and Minimalist styles. Among my favourite composers are Ravel, Debussy, Chopin, Bartók, Satie. I'm also influenced by modern film soundtrack composers, especially Sakamoto and Hisaishi. The way in which I voice chords and harmonic progression are strongly influenced by Jazz, especially the wave of postwar cool jazz (Dave Brubeck, George Shearing, Art Tatum, Bill Evans).

My Process

I can't predict when a melody will nudge its way into my mind, but when it does I grab it and sit at the piano to explore its story. While I avoid making what they call "Program Music" that follows a specific narrative, I always like to have non-musical imagery in mind when bulding a piece, whether that is a moment in time, a visual image, or something else that has an emotional charge. Sometimes the emotional imagery emerges right from the start, and sometimes it forms later in the process, but I always try to have it before the end so I can gauge whether the piece has sufficiently evoked something.

While crafting the composition, I will move back and forth between the piano keyboard and a MIDI "piano roll" editor. The keyboard is where I draw out inspiration by allowing my mind to wander and fingers to experiment. Eventually I'll have the nucleus of a musical idea which I'll sequence digitally and bring into a MIDI editor. In the MIDI "piano roll" editor, I'll move notes around precisely to draw out harmonic and rhythmic ideas without having to worry about the limitations of my manual dexterity. As the piece progresses I'll frequently bring the composition back to the keyboard to make sure that my fingers can actually do what I've imagined. Removing myself from the physical piano is an important step that frees me from the limitation of my dexterity, but also saves the piece from being enslaved by patterns ingrained into my finger muscles. The process ends when I've captured the mood.

As with any artistic process there's a time when you need to declare "done" - for me that moment is when I feel that I've sufficiently evoked the intended emotion, and there are no notes I want to add, modify or remove. I will actually walk through the entire piece and ask if every single note is serving a purpose, ask if it should be omitted or changed. If I'm satisfied with the entire thing, the MIDI piano roll is exported for typesetting. The MIDI playback of all that work is always too robotic, so I always bring the finished piece back to the piano to capture a human performance of it. Then I'll quantize and fuss over that for a while to get the rhythm and expression perfect - it's a keyboardist's equivalent of "autotune". What you hear in the demo reels is my own performance of the piece, but it's not a live performance - it's been touched up and enhanced.

The Healing Begins (2015)

You've probably been where this song came from. Sitting in on one of those harshly cubic chairs with the thick stain-guard upholstered seat, pulled up beside a bed in an ICU. Someone you care about is sleeping, drugged, hooked up to drips and monitors. You don't hear them breathing, but you know they are - by the incessant meep ... meep ... meep of a machine next to the bed.

There's nothing to do, and nothing to say. They're asleep and everything is quiet except for the beeping, and a man moaning somewhere down the hall. Everything that can be stitched together or bandaged up or medicated has been tended to, and now there's nothing to do but wait and see. Maybe it will all be OK. Maybe it won't, and then it will be you that needs to heal. Either way, this is neither a beginning nor an end - it's the upsetting time in between when you don't know which it will be.

Sheet music: Buy it now

Still Pool In Sacred Woods (2015)

This piece evokes a dryadic dance around a forest pool, amid the majestry of mature trees.

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Montgomery Dusk (2015)

An awkward, disconsolate piece. The rhythm should evoke the uneven but regular swiveling when you're sitting on a swing, and you put your feet down in front, then sort of rotate slowly right and left, letting the chains twist and untwist.

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Elusary Moment (2014)

Elusary Moment is meant to evoke the feeling you get when you become aware of a moment of beauty passing by - you try to absorb as much as you can with your senses, but it's already gone.

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Happy Goth Girl (2012)

The lilting 6/8 gambols dissonantly, atop a playful descending sequence of fifths.

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Murmuration (2012)

A murmuration is a flock of starlings. If you haven't seen the amazing flight acrobatics of a murmuration, here's an excellent video example. This piece evokes the flitty delicate movements and grand swooping patterns of this remarkable display.

This virtuoso piece will challenge your fingers! The sixteenth-note patterns that fling up and down the keyboard require some fancy fingering and hand-switching to pull them off. The key to a good performance is fluid, precise execution of the sixteenths, with ample emphasis of the melody.

Sheet music: Buy it now

Long Path to Hopeful Horizons (2012)

A delicate melody, laid gently over a spacious 3 - 3 - 10 rhythm. This piece is meant to evoke an optimistic dream, that life is twisting toward a new path, one that holds immense promise for the future, but that will take many years and much hardship to reach.

A simple piece, but quite difficult to perform well. Written for clarity in 3 staves instead of 2. The melody must not be obscured by the dense chords around it - this is not an easy technique to do. You could cheat and perform this piece with two people on two pianos, but that is cheating so don't cheat. It's a good thing for you to be able to emphasize a melody while playing quieter harmony notes in the same hand(s).

Sheet music: Buy it now

Requiem for Jackie (1998)

This piece came while grieving the tragic loss of a close friend and her daughter in 1998.

The plodding quarter-note rhythm must be played with little or no expression. This piece is quiet, somber, gentle, and slow. Requires adult hands capable of spanning a ninth.

Sheet music: Buy it now

Grawlix Music Fonts

Music notation fonts, available for sale at my Scubbly store.

I've got Rhythm

True Type Font for typesetting rhythm exercises. Perfectly spaced characters for whole, half, quarter, eighth and sixteenth notes, in common groupings and tuplets. Originally designed for printing clapping exercises for music instruction. Create professional rhythm notation in the comfort of your word processor.

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Times Music Theory

True Type Font, created for writing chord symbols. Contains all the glyphs for writing chord symbols for most chords used in Western music. Professionally designed by a music typesetter. Face resembles Times New Roman.

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If you're looking for the dance pop DJ / Writer / Producer from Cork, that's the other Ian Ring. Check out his stuff too because it's pretty cool.