Documentation of Music

for a discussion of me and music, see here

- And It’s Surely to Their Debit, Parts 2a-2f (2004-8)
o For three B flat clarinets. Cycle of six pieces using six-note mode (starting on six different pitches).
ßßßßß Section 2a – written for three voices as part of larger scheme in 2004. Slow and choral. listen
ßßßßß Section 2b – written for three clarinets in 2006, still slow and chordal listen
ßßßßß Section 2c – written in 2006. In three sections, chordal, line with accompaniment, and bare line with repetitive backing texture
ßßßßß Section 2d – written in 2006. Four bar subject with transposition, inversion, rhythmic adjustment, and retrograde figures. listen
ßßßßß Section 2e - written in 2008. Very irregular rhythms, again primarily voiced in two opposing chordal structures. This is a hard one to play.
_____Section 2f - written in 2007. Uneven triplet figures, broken chords, a few composite melodies.

- Bingo Piece for musicians and audience - for small ensemble, bingo caller(s), and audience playing bingo (2002, rev. 2005, still unrealized)
o What can I say? It's a game of Bingo wherein each call & victory affects the music that gets played for the 30 seconds after the call. If you have any interest in making this happen, please let me know, I've always wanted to try it out.

- Choral Piece (yet unnamed)- for any number of singers + optional percussionists (2007)
o This one needs some work, but basically a structure to get amateur vocalists to make a variety of noises with their mouths. Recorded in Middletown, 5/07.

- Dangerous Piece - for performer(s) (2005)
o "Play the can(n)on until you stop paying attention" - I take this piece very seriously and would love the chance to perform it.

- Fingering Study - for clarinet solo, based on “Modal Study” (2006)

- Harold Said Who? – fragments for clarinet, flute or violin, and cello or bass (2003)
o First two segments written inexplicably after viewing Lost in Translation in a theater in Westchester, NY. Third segment, who knows. Improvised middle section before reiteration of third section.

- HRSEFCKR – for two electric guitars and kick drum (2006)
listen to one Young Vandals version, sans drum

- Arrangement of If I Was Your Girlfriend by Prince (2002-3)
o Arranged for six voices. Originally conceived of for steel drum band, but later reconceived for two guitars, two bass, two keyboards. First section done after Eels cover of original song (I love Prince covers), second done in the style of Steve Reich as I understood it at age 19. view score for part ii of this piece

- Incidental music for Vanessa Guida’s choreography (2003)
o ProTools-realized collage of altered human voices in seven sections.ßßßßß ßßßßß Listen to the Sixth Section from this piece

- Incidental music for Vanessa Guida’s choreography “Heavy” (2004)
o for clarinet/guitar/feedback, trombone, & melodica. A suite of little tunes, chords, gestures. Unfortunately not recorded and hard to reconstruct.

- Incidental music for Lydia Bell's choreography (2008)
o for clarinet/guitar with taped accompaniment. Melodies, chords, and textures, mostly pretty sparse. Written in many small segments, but in the end felt like a coherent body of music. 25 to 30 minutes in length, contains a few bits of previously written songs. One tune out of many. Video coming soon...

- Incidental theater music for Dylan Meconis’s Cyrano(2002)
o tunes for piano, clarinet, sax, & drums. Some of the first “pieces” I ever wrote.

- Invisible Quartet - for oboe, viola, clarinet, cello, and two microphones (2003)
o Various tasks for spatially separated quartet, filtered into a performance space by two roving microphone operators. Originally conceived of as a radio piece.

- Kleine Schoene Katzen – short dodecaphonic piece for cello, trumpet, and drum set (2004)

- La Gavotte Grotesque – short grace note study for piano (2004)

- Langsam – tune in several arrangements (2004)
o Version 1 - for violin, guitar, vibraphone, bass, & two drummers Version 2 – for guitar

- Modal Study – short piece for clarinet and vibraphone (2004)

- Mvt. no. 2 for string quartet (2006-7)
o Several “choruses” of a one lengthy chord progression voiced in a variety of ways. Score is completely text; players change notes at the rate at which new instructions are read (with group fermatas placed regularly throughout). Quite long despite the name.

- Movement X – broken chord figures for a quartet of E-Bowed instruments (2002)

- On Methods of Expediting Ingestion – for soprano and snare drums (2003-7)
o A variety of slow moving melodic pieces. Originally for soprano and snare drum, but as things progressed, it became more often melodic lines in a certain style. All pieces may be accompanied by snare drums (but when is that not true?), using hand signals from The Eggplant if desired to control rolls. Sections:
ßßßßß Peaches – 2003, written for Jar Magazine, for soprano & two drums
ßßßßß Carrots – 2003, written for Jar Magazine, for soprano & two drums. No melody, text is spoken.
ßßßßß The Eggplant – 2004, revised 2006. Guitar with snare or vocal with snares. Revised for Anne Rhodes’s recital listen (guitar version)
ßßßßß Potatoes – 2006, written for Anne Rhodes’s recital view score
ßßßßß Turnip Crane – 2006, for one or two melodic instruments, with or without accompaniment listen or listen
ßßßßß The Wolf-Peach – 2007, for two melodic instruments. Based off abstraction of previous Ingestion pieces
ßßßßß Deadly Nightshide – 2007, somewhat irregular canon for several melodic instruments. Also based off of previous Ingestion pieces listen
ßßßßß Celery – 2007, for three melodic instruments or small group. Based off previous Ingestion pieces and more like a bop tune.

- Orchestra-inspired Quintet – for two horns, cello, and two basses (2007, incomplete) _ o I don't spend much time thinking about orchestras, but I saw an opera this spring and got some ideas, started writing, looked at what I had, and then structured out a longer piece based on a few of these ideas. Never written for horns before, may need some revising.

- The Passion of the Roe (2005)
o Two movements for clarinet, soprano saxophone, bassoon, cello, and piano. After each movement, there is an interlude summarizing the previous movement on vibraphone and a monologue delivered by a non-musician. Monologue is catered to specific performance. From 4/1/05, with Matthew Roe as the Roe and Aaron Siegel conducting:

ßßßßß First Movement: Decolletage view score

ßßßßß Interlude listen

ßßßßß Second Movement: No One Argues with a Truck That Size listen view score

ßßßßß Postlude (featuring elements of Harkenbak the Four) listen

- Plotinus’s Beau – for two bowed guitars with one of various texts (2006)
o listen to the version 1 or version 2

- Short Duet, aka Shorst – for two instruments (2007)
o awful fun and somewhat open

- (Sh)Raw – cassette tape piece involving sounds of clinking suspenders & traffic (2002)

- Shuffle for Five Clarinets - for four B flat clarinets and one bass clarinet (2005)
o I wish you could hear this piece, but it was rehearsed only once and never recorded. The main theme has been played by Trouble.

- Stiff Peaks - for egg whites, electric mixer, and AM radio (2004)

- Strides Toward Imitation – indeterminate piece in the style of stride piano (2004)

- Suggestiveness (2008)
o short through-composed piece for guitar solo, not dissimilar to Turnip Crane listen

- Sweep Quarter Trap, Parts I & II (2003-4)
o Part I for string quartet, Part II for trombone, cello, double bass, and electronic glissando producer (theremin, slide guitar, etc.). Pieces created from gamuts of glissandi, organized by momentary instrumentation and direction of glissandi. you can listen to part 1, recorded in a chapel

- Swing Set Music (2005-7)
o Something kicking around in many versions that I've never been able to commit to, some loose, some more strict. Originally conceived of as having the sounds of swings running in the background. Here's a bass clarinet version - the ostinato is the common thread to all versions, how it's played and what's around it is different.

- Il Settimo-Cervello (Sweep Quarter Trap, Part III) (2005)
o For two trombones, two strings, two electronic glissando producers, and voice. Beginning with the idea of a glissando gamut, 150 glissando events (based on instrumentation & direction) serve as the basis for a freely navigated language. Directions for each player involved in an event range from broad to specific. A set of protocols limit the group behavior and overall length is flexible based preset variables for a given performance. Realized once in 2005. listen read about how the piece works

- Trio #2 – for two treble lines & one bass line (2007)
o You know, some lines, two pages long. Spitting some stuff.

- Two Bar Shuffle – for clarinet and drum set (2005)
o Shuffle with a two-bar melody, stated four times by clarinet and four times by drums, followed by an open section and then a recap.

- Untuned - for 10 untuned guitars (2006, rev. 2007)
o Ten guitars begin with no strings. Guitars are then strung without regard to specific pitches. Players navigate a series of tunes, chords, a canon, and various tuning actions. Listen to a tune from the end of this piece, played here in tune by two clarinets and three guitars. A recording of this piece, made in June 2008.