Documentation of Music
for a discussion of me and music, see here

2011

- AGAIN - for mezzo-soprano and vibraphone
the sequel to BACK. this time with text. have a listen.

- Dwight David Einsenhower - 1954 - for open ensemble
written for the Brooklyn Electronic Ensemble (BEE). All players select their favorite seven-character New York State license plate (AAA-0000 to FZZ-9999), and this character information is interpreted as individual scores for all players.

- Paddles - Max/MSP/Jitter installation for two players using wii-motes
A game involving input from wiimote and a camera fixed on the players, data from which modify Open GL video and two channel audio

- Arrangement of Perfect Lives, Episode 5 (The Living Room) - for flute, two violins, and organ
A fully notated, ~25 minute arrangement for Perfect Lives Manhattan, made in conjunction with Aliza Simons's vocal arrangement and Mendi + Keith's vocal interpretation

- Sit At the Basement - for SATB soloists and Max/MSP

- Suggestion #2a - melodic solo for single instrumentalist. listen to an interpretation by Shawn Onsgard

- Why Won't This Guy Stop Following Me Around? - 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

2010

- After You - for two or more performers, each player with access to 1 laptop running Max/MSP
cause you see no one can initiate their own sound, they can only ask others to play. it's about building individual sonic identities

- BACK - for mezzo-soprano and vibraphone, written for the BACK Duo (Amirtha Kidambi & Cory Bracken) listen

- Flowering Reintroductions - trio for MaxMSP patches, suling/melodica, and suling/clarinet/speaker with possible audience visual elements
Based on the idea of the zeugma and the form of a wayang. Seems like a lot of people have been travelling to South America recently. Take a listen.

- Hard to Take Serious - for solo keyboard instrument (celesta, piano, or single manual electric organ)

- The Scream - two channel audio installation alongside parallel video component by Jason Bahling for Brooklyn College IEAMF

- Shuffle No. 2 for B flat clarinet, 2 bass clarinets, tenor trombone, and bass trombone (2009-2010)
some similar themes as the first two shuffles (see below), but more sectional, more through-composed, still stomping on the quarter note though.

- These Perceiving Guts 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.

- To LP for two electric guitars and external drone

- Trio #4 - for Bassoon, Electric Guitar, and Double Bass

- Why Lie? - 100 small pieces in diamond clef for open instrumentation, utilizing a wide variety of notational approaches

- Working Towards a Fall Duck - an academic sketch for flute, oboe, violin, viola, harmonium/synthesizer, and bass drum

2009

- King Gustav/King Carl Gustav – for solo euphonium
You can look at the score for this one right here: page one, page two

- Malaise in a Delicatessen – for guitar and clarinet, with or without percussion
a study in 7ths and 9ths, also varying swung time and straight time. I mean, how can you be sad in a deli? Is that even possible?

- Meditations on Hank – for guitar and vibraphone, or for three low voices
some thoughts on the senior Mr. Williams

- 11209 (aka Trio No. 3) – for flute, electric guitar, and double bass
a processing of some of the solo music I've been making in 2009 into a trio format

- Piece Considering Electronic Mean and Opposable Thumbs – 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.

- Press Tofu (kit) – for soprano, two violins, clarinet, and bassoon
chamber song with incriminating, apocryphal thoughts on Enrico Caruso & voyeurism

- puppies and kitties – 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. give a listen

- "reeds" – for one instrument
a prelude, and then an accumulating series of gestures, which then unpack themselves

- Suggestion #1a - for solo instrumentalist playing an instrument that can sustain multiple sounds simultaneously

- Wild Smitty - for violin, viola, oboe, trombone, and bass clarinet (2008-9)
A suite in (so far) two sections. First section pits bass clarinet against the rest of the ensemble, second is all about spinning out instrumental textures.

2008

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).
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. listen
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. listen
_____Section 2f - written in 2007. Uneven triplet figures, broken chords, a few composite melodies. listen

- Incidental music for Lydia Bell's choreography
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.

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

2007

- Choral Piece - 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. This is what it sounds like...

- On Methods of Expediting Ingestion – for soprano and snare drums (2003-7)
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.

-Short Duet, aka Shorst – for two instruments
awful fun and somewhat open

- Swing Set Music (2005-7)
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.

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

- Untuned - for 10 untuned guitars (2006, rev. 2007)
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 OR a recording of this piece, made in March 2010.

2006

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

- HRSEFCKR – for two electric guitars and kick drum
listen to one Young Vandals version, sans drum or a version with DR, Joe White, & Cory Bracken

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

2005

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

- The Passion of the Roe
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:
First Movement: Decolletage view score
Interlude listen
Second Movement: No One Argues with a Truck That Size listen view score
Postlude (featuring elements of Harkenbak the Four) listen

- Shuffle for Five Clarinets - for four B flat clarinets and one bass clarinet
The main theme has been played by Trouble. Hear a "solo" adaptation.

- Il Settimo-Cervello (Sweep Quarter Trap, Part III)
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

- Two Bar Shuffle – for clarinet and drum set
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. listen

2004

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

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

- La Gavotte Grotesque – short grace note study for piano

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

- Modal Study – short piece for clarinet and vibraphone

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

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

- Sweep Quarter Trap, Parts I & II (2003-4)
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

2003

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

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

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

- Invisible Quartet - 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.

2002

- Bingo Piece for musicians and audience - for small ensemble, bingo caller(s), and audience playing bingo (2002, rev. 2005)
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.

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

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

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