Compositions

If you want to get a sense of where I’m coming from, here’s some pieces that I’ve written that I like a lot:

  • Qumran (Don’t Spit in the Sacred Place) (2015) – for guitar, bass, keys, cello & percussion
    repetitive piece for the band Reps
  • I’m at a Blanc (2015) – for four flexatones
  • The Gentleman Rests (2014) – for five vocalists, trombone, electric organ, viola, and double bass
    a piece written with a Jerome Foundation Commission (via Roulette), depicting the joint session of Congress held 1/6/2001 to certify the 2000 election.
  • Every Agricola (2014) – for violin, tenor saxophone, & double bass
    getting back to a kind of chamber music writing I’ve taken too long of a vacation from – short, not many different pitches, rhythmically slippery but not systematized
  • To Scale (2012) – co-written with Cough Button, for multiple singers, viola, bass clarinet, and synth & spatialized sound
    Four scenes were premiered as part of Experiments in Opera
  • AGAIN (2011) – for mezzo-soprano and vibraphone
    the
    sequel to BACK. this time with text
  • Why Won’t This Guy Stop Following Me Around? (2011) – for accordion, Max/MSP, flute, and clarinet
    Written for Sweat Lodge, this is a modular piece of solos, duos, & trios which can be played independently of one another.
  • BACK (2010) – for mezzo-soprano and vibraphone,
    written for the BACK Duo (Amirtha Kidambi & Cory Bracken)
  • gabra (2010) – memory piece for one or more reciter/musicians
    Originally made for myself as a solo piece with clarinet for Paul Pinto’s Comformer/Perposer Series. In 2012, this piece was rearranged as a duet and a trio.
  • These Perceiving Guts (2010) for soprano, piano, and drone
    thoughts on being on the radio and how much easier singing unamplified is than trying to magnify your voice over a river valley area. utilizing a drone of two G3s, two F3s, and one B3 which ebb and flow variously.
  • WHY LIE? (2010) – 100 small pieces in diamond clef for open instrumentation, utilizing a wide variety of notational approaches
  • Piece Considering Electronic Mean and Opposable Thumbs (2009) – for three knob turners
    in a way, a piece of drone choreography. No sounds are specified, rather, when and how much certain knobs are turned is specified.
  • puppies and kitties (2009) – for eight or nine voices and kick drum or drum machine
    composed by overdubbing voices. two segments: one on puppies and kitties, the other on women in distress.
  • And It’s Surely to Their Debit, Parts 2a-2f (2004-8) For three B flat clarinets.
    Cycle of six pieces using six-note mode (starting on six different pitches).
  • Suggestiveness (2008)
    short through-composed piece for solo guitar
  • Choral Piece (2007) – for any number of singers + optional percussionists
    Basically an all-text structure to get amateur vocalists to make a variety of noises with their mouths. Recorded in Middletown, 5/07, performed at Exapno, 10/11.
  • Mvt. no. 2 for string quartet (2006-7)
    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.
  • On Methods of Expediting Ingestion (2003-7)– for soprano and snare drums
    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. Listen to The Potato (2007, rev 2010)
  • Untuned (2006, rev. 2007)- for 10 untuned guitars
    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.  Tuned is another version of this piece, just played in tune.
  • HRSEFCKR (2006) – for two electric guitars and optional kick drum
    repetitive piece focusing on As & Gs
  • Il Settimo-Cervello (Sweep Quarter Trap, Part III) (2004-5) – 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.
  • Invisible Quartet (2003) – for oboe, viola, clarinet, cello, and two microphones
    Various tasks for spatially separated quartet, filtered into a performance space by two roving microphone operators. Originally conceived of as a radio piece.
  • (Sh)Raw (2002) – cassette tape piece involving sounds of clinking suspenders & traffic

And here’s a few other little ideas and recordings that’ve come up over time that I didn’t know where else on the site to put: