Electronics: Fixed Audio

See Right Through Me (Albert’s Confession)

See Right Through Me is a song for a vocalist accompanying themself on cuatro. Originally written for The Vicksburg Project, an evening-length show about the experiences of women and gender-expansive people in Vicksburg, Mississippi, it is the imagined confession of Albert Cashier, an illiterate Irish orphan who enlisted in the Army soon after emigrating to the United States alone.

Albert served the Union for four years, then returned to Illinois to work as a handyman and gardener. Late in life, he was hit by a car and taken to the hospital, where the doctors determined that Albert must have been assigned female at birth. So they dressed him in women’s clothes, and put him in an insane asylum, where he died from a fall he sustained tripping over his unaccustomed skirts.

The song incorporates allusions to Walt Whitman’s early poems about the war, a quotation from a Sean nós song called “Táim curtha ó bheith im’aonair im’lui (I’m weary of lying alone)” and from a then popular poem about dead comrades called “Oft in the Stilly Night.”

See Right Through Me is 9 November in my ongoing project A Book of Days, and you can hear my own recording of the piece there.

TO THE PERFORMER

The song is written for a transgender, genderqueer and/or gender-expansive person who inhabits the masculine. You should transpose the piece so that the first section sits as low as possible in your tessitura, and the last section needs to feel vulnerably high. Easy for an untrained voice, harder for a professionally trained singer. The middle section should be sung without particular regard to the accompaniment: you keep playing the A section chords, but you sing the battle section in a marching 12/8. Please make sure you re-align with the accompaniment correctly before starting the final section “Everyone knows.”

If you can’t get hold of a cuatro, you can adapt the piece for ukulele or acoustic guitar.

horizontal rule

For a performing score (along with the optional warped recording of a hermit thrush you can trigger as a momentary underscore), please click the buy button below. The suggested price is $30, but you can choose your own price based on your situation, with my thanks for supporting this low-key way of publishing:

DETAILS

What would the Either be?

What would the Either be? is a piece for live violin, electronically transformed violin sounds, and optional video.

The piece is inspired by a late Emily Dickinson poem, which she wrote in 1883 as she was trying to make sense of the death of her young nephew, Gib.

The Spirit lasts—but in what mode—
Below, the Body speaks,
But as the Spirit furnishes—
Apart, it never talks—
The Music in the Violin
Does not emerge alone
But Arm in Arm with Touch,
yet Touch Alone—is not a Tune—
The Spirit lurks within the Flesh
Like Tides within the Sea
That make the Water live, estranged
What would the Either be?
Does that know—now—or does it cease—
That which to this is done,
Resuming at a mutual date
With every future one?
Instinct pursues the Adamant,
Exacting this Reply—
Adversity if it may be, or
Wild Prosperity,
The Rumor’s Gate was shut so tight
Before my Mind was sown,
Not even a Prognostic’s Push
Could make a Dent thereon—

Emily Dickinson turns the hard dualism of body versus spirit slippery and mysterious. In response, I recorded David Felberg’s col legno playing so you can’t really know what is live and what pre-recorded. The video, shot in the summer of 2020 on Otter Creek in Vermont, blurs the binary of land versus water with abundant grass billowing in the current.

This is the second of a series of pieces I am making responding to the poetry of Emily Dickinson, who became my queer role model in lockdown. What would the Either be? was commissioned for David Felberg by the Taos Chamber Music Group, and received its premiere on 19 June 2021.

What would the Either be? is 27 July in my ongoing project A Book of Days, and you can hear David Felberg’s pre-release recording of the piece there.

horizontal rule

Here’s a performing score for the piece.

For the pre-recorded track (with or without video), please click the buy button below. The suggested price is $30, but you can choose your own price based on your situation, with my thanks for supporting this low-key way of publishing:

DETAILS

Hard4the$

Hard4the$ is a piece for solo flute and pre-recorded track that explores the current gender and racial pay gap in the United States, a pay gap that became particularly glaring in COVID days, because so many black and/or female workers have been both essential and underpaid.

The piece is a set of four abstractions of the 1983 classic Donna Summer/Michael Omartian tune “She Works Hard for the Money” played simultaneously. Each layer has been given the name of a universally known public figure who represents the race and gender of that layer: Michelle Obama, John Lewis, Hillary Clinton, and Brett Kavanaugh.

Michelle’s variation is the only one that is the full length of the four minute piece: the others are shorter (and faster in tempo) in proportion to how much more quickly people of that gender and race are statistically likely to earn the same amount of money. Thus, Brett’s variation is only 2:28.

On the other hand, Brett’s multi-layer variation is played fortissimo on piccolo while Michelle’s is played pianissimo on alto flute, so Michelle is only actually heard when Brett and the others successively finish playing. (Hillary is mezzo forte, and John is mezzo piano.)

It is suggested that the player take on a different role each time he/she/they play the piece. Depending on the role the live player chooses to take, the piece will be a very different experience for both player and listeners.

Hard4the$ is 31 March in my ongoing project A Book of Days, because 31 March was Equal Pay Day 2020 in the United States; that is, how far into the year women had to work to earn what men earned in the previous year. In 2022, Equal Pay Day has moved up to March 15th, seemingly good news that is complicated by the fact that women of color actually lost pay compared to their white male counterparts.

Statistically, the Bretts of America are doing just fine, while the Michelles continue to clean up all our messes. Something is wrong with this picture.

Hard4the$ was commissioned by Hal Ide for Claudia Anderson’s solo show Glass Ceilings, and premiered online at the 2021 National Flute Association convention. Many thanks to Allison Loggins-Hull, Eric Lamb, Claudia Anderson, and Tim Munro, who recorded Michelle Obama, John Lewis, Hillary Clinton, and Brett Kavanaugh (respectively) for the pre-recorded track.

horizontal rule

TO THE PERFORMER

In any given performance, the player can choose which role to play. Brett is piccolo; Hillary is C flute; Michelle is alto flute; John is bass flute. The pre-recorded track will function as an enlarger of your live role, but the overall balances should stay the same. So, for example, Michelle — both live and pre-recorded — will be drowned out until the very end. That’s pretty much true of John as well. Hillary will obscure John and Michelle, but Brett completely takes up all the air in the room as long as he’s around.

I suggest you practice the role you’ve chosen to take on by playing your solo part with the pre-recorded track for JUST your character first: e.g. if you’re doing Hillary live, practice with only the pre-recorded Hillary tracks until you are satisfied with your pitch, timing, and blend.

You should aim to be equal to (NOT louder than) the pre-recorded tracks of your character: the reality is even if you are softer than the pre-recorded tracks, we will hear you better because we are watching you play.

In live performance, you may want to have an in-ear monitor mix of your live character’s pre-recorded tracks and click (set to the correct tempo for your live character’s part, of course.) The total mix then can be routed to the speakers in the hall, but you won’t have to listen to the entire blend, which is kind of overwhelming if you’re not playing Brett.

Depending on what space you are playing in, you may want to add reverb to your playing: you want to match the pre-recorded track of your character: Brett has the least and shortest reverb, and Michelle has the most and longest reverb. (If you haven’t yet decided which role to play and/or you don’t want to process your sound, you should choose the role that best matches the natural sound of your concert space.)

On any given concert, you are welcome to play the piece up to four times, taking on different roles each time.

I’m not sure any individual performance of the piece is actually satisfying, which is kind of the point.

There might be a better way forward?

horizontal rule

For performing materials, please click the buy button below. The suggested price is $30, but you can choose your own price based on your situation, with my thanks for supporting this low-key way of publishing:

DETAILS

Be Like Water

Be Like Water is the ninth piece is a series called Machaut in the Machine Age that I’ve been working on since the 1980s responding to the music and poetry of 14th century composer/poet, Guillaume de Machaut. The piece was commissioned by duoJalal and was originally imagined for viola and hand percussion.

My piece is a response to section four of Le lai de la fonteinne, which having compared the beloved to Mary, and Mary somehow to the Trinity, is now talking about water, which being a fountain, a stream, and a source while remaining water is, like the trinity, three things in one. The descending three note motif in a three-part canon at the unison is text-painting of such simultaneous simplicity and cunning that I had to explore it in this trio between viola, percussion, and pre-recorded track, setting up the piece so that those three become one in yet another way:

There are 21 tracks (3 times 7), each of which can be assigned flexibly to either of the two live players (played acoustically or as triggered samples) or as pre-recorded tracks, so that without seeing a live performance, you can’t tell which of the three is doing what.

The piece can also easily be presented as a multiply overdubbed piece, which may be particularly appropriate during pandemic times, as was the case when Machaut wrote the Lai (during the Black Death), and when I wrote this piece (during COVID-19).

It’s all water. 

Be like water.

horizontal rule

The original version of the piece is for viola, hand percussion, and backing track, which can be a pre-recorded track, or an Ableton session.

You can visit February 16th in my ongoing project A Book of Days to hear and see the premiere live performance of the piece by Duo Jalal. You can also listen to my demo version of the piece, which might give you some ideas about how you’d like to adapt it for yourselves.

For performing materials, please click the buy button below. The suggested price is $33, but you can choose your own price based on your situation, with my thanks for supporting this low-key way of publishing:

DETAILS

All Good is Luck

All Good Is Luck is a piece inspired by something a guy named Kenny Quentin said to me out of the blue one night in December 2009 at the Blue Moon Saloon in Lafayette, Louisiana: “Not all luck is good, but all good is luck.”

I had just finished up a human-powered trip down the Mississippi River, and was very aware of my amazing luck in having done it without major mishaps. But even so, luck (good or bad) is one of those ideas I don’t really know what to do with. 

It was pure random luck that I happened to meet Kenny that night, but I’ve been mulling it over ever since. I’m grateful to Kenny for his gnomic statement, and I’ve come to translate it for myself as:  “Not everything that happens in the world is good, but everything we call “good” is something that happens in the world.”

A further bit of luck is that I was doing a stint teaching beginning electronic music at Middlebury College in January 2014, when a student named Ian Ackerman came up with a very cool lick that inspired this curious new piece for me. Thanks, Ian, for letting me steal your lick! And thanks, too, to Mary Rowell for working with me to develop the violin solo.

horizontal rule

The original version of the piece is for violin and electric guitar. The current revised version is a two-violin version I adapted for Miolina, which requires live processing on both instruments, but guitar-hero-style processing on only one 😉 . I’ve set up an Ableton session with stock plugins to get you started, but you will certainly want to adjust from there.

You can visit December 23rd in my ongoing project, A Book of Days to hear a pre-release version of the recording Miolina will be putting out on their next album.

For performing materials, please click the buy button below. The suggested price is $30, but you can choose your own price based on your situation, with my thanks for supporting this low-key way of publishing:

DETAILS

Fresh Air

Fresh Air is for saxophone quartet, the then-new TR-808, and the Sequential Circuits Pro-One. I made it before the MIDI spec was formalized, so the track had to be spliced together small chunk by small chunk, limited by the twenty-event memory of the Pro-One’s sequencer, which was triggered by CV coming from the 808.

I think this might be the earliest piece I’ve posted here, but I still have a warm space for it in my heart, and would be delighted for some current sax quartets to take it on.

A recording by Relâche is in A Book of Days alongside a pretty great poem by Kenneth Koch that beautifully captures how I was feeling when I made the piece. You can listen and read by visiting March 15th.

I have a copy of the pre-recorded track, and a hand copied score. If you want to play the piece, I’ll arrange to get parts copied for you if playing from score seems too wonky.

Please write to me if you’re up for it, and we’ll figure out how to proceed.

 

 

DETAILS

Unfavored House

Unfavored House is a piece I wrote while struggling to give back a house I inherited in Los Angeles in the midst of the economic downturn, a gift that came with more debt than the house itself was worth at the time. The combination of grief and bad advice led me to a dark place where randomized Bach was my only comfort.

I think randomized Bach an excellent comfort for whatever ails you, actually.

And this psalm also does a very good job of capturing my sense of futility at managing legal documents and paperwork.

Unless the Lord builds the house,

   those who build it labour in vain.

Unless the Lord guards the city,

   the guard keeps watch in vain.

It is in vain that you rise up early

   and go late to rest,

eating the bread of anxious toil;

   for he gives sleep to his beloved.

Psalm 127

horizontal rule

You can hear a recording of Unfavored House by visiting 24 February in A Book of Days.

horizontal rule

Unfavored House was written to be performed in conjunction with a live Ableton session that gradually doubles the live performers’ pitches with different successively constrained random pitches each time you play the piece. (If Ableton isn’t a possibility, I can supply a pre-recorded track for a duet version of the piece, with the clav part pre-recorded, and the mandolin and guitar players live.)

If the clav part is live, the live clav and the random clav should use the same patch. The clav part doesn’t look much like what you will hear, and it will sound a little different every time you play it. The live players’ mandolin and guitar sounds should match the random doubles as closely as possible. Feel free to use different sounds in Ableton that match the mandolin and guitar more closely, or even better, sample your own instruments so that Ableton is randomizing you!

Normally, I would charge $50 for the performance materials; in these pandemic days, I welcome you to pay what seems right to you, with thanks for support of this low-key method of publishing:

 

DETAILS

She Gets to Decide

She Gets to Decide began as a meditation on the controversial Balthus painting Thérèse Dreaming. While the painting seems unquestionably pervy to me, I am also struck by the power and self-sufficiency Thérèse radiates.

As I was working on the piece in the spring of 2018, the Bradley Garner/Wildacres Flute Camp story was all over my Facebook feed. That’s the saga where a well-regarded flute pedagogue was accused of inappropriate sexual behavior with several young women, stripped of all his teaching jobs and product endorsements, except by the head of the Wildacres Flute Camp, Anna Thibeault, who in defense of Garner, characterized young women as “nymphos” and “Lolitas” (She still has her job, by the way, but Garner no longer teaches at Wildacres Flute Camp.)

A collage from the newspaper account of this story, excerpts from the Poulenc Flute Sonata, and the MET audioguide for Thérèse Dreaming opens the piece. It ends with a setting of Judge Aquilina’s words to the young women who testified during the trial of gymnastics doctor Larry Nasser. The central section uses as its text an excerpt of hebephile pornography (by Alphonse Momas, published in 1900, and recorded by Florent Ghys,) the text of which is treated both as the locus of abuse, and as a possible mechanism for healing from that abuse.

Rainer Maria Rilke wrote in a letter to Balthus’ mother, Baladine Klossowska, who was Rilke’s lover at the time: “a barely arching bridge connects the terrible to the tender.”

Sometimes the way out is through.

horizontal rule

You can hear and see Lucy Dhegrae’s premiere performance of the piece by visiting 20 November in A Book of Days. You can also watch a long conversation Lucy and I had around and about the piece in February 2021.

horizontal rule

Here is a performing score for She Gets to Decide. The original version moves from pre-recorded to live piano, and adds a live violin part at the end of the piece. However, it is possible to perform the piece with everything except the voice pre-recorded. You can download the performance track by clicking the paypal button below and paying whatever amount you think reasonable, with my thanks for supporting this informal way of publishing:

DETAILS

None More Than You

None More Than You was a dual commission from the Dessoff Choirs and Roomful of Teeth for a piece celebrating the 200th birthday of Walt Whitman.

My ideas for making a piece highlighting the very different vocal qualities of the two groups were crystallized by a metaphor I happened to come across in Kierkegaard’s Sickness unto Death: “Necessity is like a sequence of consonants only, but in order to utter them there must in addition be possibility. When this is lacking, when a human existence is brought to the pass that it lacks possibility, it is in despair, and every instant it lacks possibility, it is in despair.”

I asked the members of Roomful of Teeth to try to utter the most famous text about words in Western culture, the opening of the Gospel of John, using only consonants. Of course, it is impossible to do this. In order to make sounds, we use air, and air has shape. But that’s what Roomful of Teeth spends the first half of None More Than You trying to do:

N th bgnng wz th wrd,
nd th wrd wz wth gd,
nd th wrd wz gd.
nwn hz vr sn gd.

In response, the Dessoff choir sings lines from Whitman’s Song of the Rolling Earth, which talk about how the words we need to live are everywhere around us, and even inside us:

Were you thinking that those were the words, those upright lines?
No, those are not the words, the substantial words are in the ground and sea,
They are in the air, they are in you.

The music the Dessoff choir sings is inspired by the really stunning incarnation moment in the Credo of Josquin’s Missa Pange Lingua. It’s kind of ironic that pange lingua means “Tell, tongue” since Whitman says it’s better not to:

I will never henceforth have to do with the faith that tells the best,
I will have to do only with that faith that leaves the best untold.

In the course of the piece, the Dessoff singers help the Teeth singers move from the place of stringent necessity to a place of endless possibility, and the last part of the piece is nothing but vowels.

Many thanks to the members of Roomful of Teeth: Estelí­, Martha, Caroline, Virginia, Eric, Thann, Dashon, and Cameron, and Brad Wells, the director; to Jeff Cook, who tracked and helped mix the pre-recorded track for this version of the piece; to Malcolm J. Merriweather and the Dessoff Choirs, who initiated the commission of this piece in honor of Walt Whitman’s 200th birthday and to the New Music On The Point Festival, who co-commissioned the piece.

None More Than You is dedicated with deepest love to Meredith Ward, my chavruta and family member.

Whoever you are! you are he or she for whom the earth is solid and liquid,
You are she or he for whom the sun and moon hang in the sky,
For none more than you are the present and the past,
For none more than you is immortality.

horizontal rule

You can hear a live recording of the piece by visiting visiting July 1st in A Book of Days. (Meredith’s birthday, not Walt’s!)

horizontal rule

When the day comes that singing in groups is possible again, choruses can perform this piece with the Roomful of Teeth music either live or pre-recorded. Email me for details.

DETAILS

Ascension

Ascension was written for a production of Part II of Goethe’s Faust, called Faust 2.0 and premiered by Mabou Mines in New York in 2019. The lyricist Matthew Maguire generously agreed to focus on the lines from the Magnificat and the Beatitudes that talk about turning the world upside down — the idea being that those lines manifest the revelation embodied in what we call “feminine energy.”

I am not enough of a Goethe person to be able to say if we successfully mirrored Goethe’s vision, but I really like what Matthew came up with, and really loved writing the music for this lyric.

My broken one, my wayward Faust,
You were the proud one
No more, no more.
You were the mighty one
No more, no more.

I scatter the proud
And topple the mighty
from their thrones

The one who strives will always stray,
So you, the greatest striver,
Became the greatest sinner
Seduced by power’s dark embrace
You turned away from grace

Blessed are the humble,
for they shall inherit the earth.

Broken you finally feel
Blind you finally see
That’s the miracle of Love’s sacrifice
And that is why, my Beloved one
I’m calling you to Paradise

I scatter the proud
And topple the mighty

Blessed are the humble,
for they shall inherit…

The wonderful Andrea Jones Sojola, who played Mary in the Mabou Mines production, recorded a version of the piece that you can hear by visiting August 15th in A Book of Days.

horizontal rule

If you would like to perform the piece yourself, please click the paypal link below, and we will send you the score and the backing track needed to perform the piece. The charge for the piece is normally $25, but in these pandemic days, I’ve set it to pay-as-you-like, with thanks for supporting this low-key way of publishing:

 

DETAILS

De toutes flours (Machaut in the Machine Age II)

Machaut in the Machine Age II is one of a series of pieces responding to the art of Guillaume de Machaut (1300-1377.) This one is working with a few samples from an old LP recording of the ballade De toutes flours.

I made the piece for the duo Basso Bongo {Robert Black, contrabass & Amy Knoles, MIDI percussion} at the height of the AIDS crisis. The poet and translator William Mullen came up with this version of the medieval French:

Of all my garden’s many fruits and flowers
none is left me but a single rose.
Not one, of all the rest that once were ours,
weathered Fortune’s blasting: Fortune who knows
how to undo her bloom,
blast her hue and her perfume.
If by your wicked tricks my rose should fall,
desire another love I never shall.

The piece can be performed by a solo bass player with a pre-recorded track as well as by a duo where the electronics are performed live.

Machaut in the Machine Age II is part of my ongoing project, A Book of Days. Please visit January 17th to hear Ryan McMasters’ 2022 recording of the piece.

horizontal rule

We will send you all materials necessary for performing the bass solo version, unless you ask specifically for the materials that will allow you to play the piece with live electronics (and an additional player on some kind of MIDI controller.) The fee for the materials was originally $35, but I have set it to pay-as-you-can for the duration of the pandemic:

DETAILS

In Huts and on Journeys

In Huts and on Journeys is a piece for spoken voice and as many mobile phones as available. Everyone within sound range of the spoken voice performer can participate. Please play the sound file that corresponds to the month of your birth. If there is a playback system in the space, you can seed the space with an additional optional stereo mix I will provide. The sound files don’t need to be strictly coordinated: one person – perhaps the spoken word performer – starts, then the others can press play whenever they feel the urge to join in. The spoken word performer can play their birth month sound file, or if there is no playback system, they can play the stereo mix file.

In Huts and on Journeys is part of my ongoing project, A Book of Days. Please visit May 19th to hear a recording I made in thanks to Lainie and Herb Alpert on the occasion of receiving the Alpert Award in the Arts in 2017.

horizontal rule

When you purchase the materials, we will send you a link to a page with the twelve sound files and the optional additional stereo mix, as well as a copy of the text for the spoken word performer, along with many thanks for supporting this low-key way of publishing.

DETAILS

Can I have it without begging?

Since the 1980s I’ve been periodically making pieces for a varied range of ensembles and instrumentation responding to the marvelous secular songs of Guillaume de Machaut. I call the project Machaut in the Machine Age, and Can I have it without begging? is the seventh in the series. Can I have it without begging? takes as its starting point Ballade #19: Amours me fait desirer. The line that ends all three verses is “Que je l’aie sans rouver”, which translates to something like: “so I can have it without begging.”

Against the backdrop of the “Me too” movement, I understand the lyrics of Machaut’s song as part of a long history of attending to the lover’s feelings and ignoring the specificity of the beloved. Machaut talks about Love, not the specific woman, he regards himself as victimized by desire, he will die without it. I am fascinated by how I respond to that pronoun — “it” — how for me at this moment, it embodies everything wrong with how heterosexual desire is depicted in Western culture.

The piece I have made is for live flute and pre-recorded flute samples (recorded on bass and C flute by Margaret Lancaster.) The piece begins with the premise that the live and pre-recorded lines are in the same universe, they want the same things. But the live flute keeps trying to become a soloist, to relegate the pre-recorded track to accompaniment, getting more and more frustrated, begging for something that can never be achieved if the track is merely background.

The irony is that the “failure” the piece embodies is actually pretty fun to listen to. Sort of like the endless number of romantic comedies we’ve all grown up watching.

Can I have it without begging? was commissioned by the National Flute Association, Inc. for the 2018 Young Artist Competition. Special thanks to Lisa Bost, Wayla Chambo, and Margaret Lancaster for their thoughtful advice and artistry as I was writing the piece.

The piece is October 6th in my ongoing project, A Book of Days. That’s the day after the Harvey Weinstein story broke in the New York Times in 2017.

horizontal rule

TO THE PERFORMER:

The backing track starts softly and gets substantially louder; when setting levels, you’ll want to keep that in mind! Perhaps you should set the loudest level towards the end of the piece before beginning to play. At the beginning of piece you should strive to match the pre-recorded track (in volume and attitude); a certain tentativeness is attractive. Gradually become more and more self-serving and egotistical as the piece continues. By the end, you want to have something of a temper tantrum: you are playing the role of a perpetrator after all: don’t be polite!

Here is a score of the piece, please purchase the performance materials (including the optional video by Emma Courtney) by clicking the buy button below, and thank you for supporting this low-key way of publishing. The fee for the materials was originally $40, but I have set it to pay-as-you-can for the duration of the pandemic:

DETAILS

Tower of Ivory

Tower of Ivory is one of a series of pieces in an ongoing project called Where Your Treasure Is, about the gradual decay of a large painting I inherited, a painting of an Irish burial mound. Each piece in the four-part series is a meditation on a text from James Joyce’s Portrait of the Artist as a Young Man, and the text for Tower of Ivory is this one:

Eileen had long thin cool white hands too because she was a girl. They were like ivory; only soft. That was the meaning of Tower of Ivory but protestants could not understand it and made fun of it. One day he had stood beside her looking into the hotel grounds. A waiter was running up a trail of bunting on the flagstaff and a fox terrier was scampering to and fro on the sunny lawn. She had put her hand into his pocket where his hand was and he had felt how cool and thin and soft her hand was. She had said that pockets were funny things to have: and then all of a sudden she had broken away and had run laughing down the sloping curve of the path. Her fair hair had streamed out behind her like gold in the sun. Tower of Ivory. House of Gold. By thinking of things you could understand them.

The music for Tower of Ivory takes off from an Irish traditional tin whistle tune known as Salamanca. I was introduced to the tune from a recording that was given to me by the poet Linda Norton. The whistle player may be Neansai Finnerty, but I’m not really sure.

Margaret Lancaster recorded fourteen tracks(!) of flutes on bass, alto, C flute and piccolo to make the pre-recorded tracks that accompany the live piccolo player. There is a bit of synth bassoon family as well, that may be replaced by real bassoons, contras, English horns, and so on in a future version of the piece.

The piece is December 21st in my ongoing project, A Book of Days. You can visit there to hear Margaret Lancaster’s recording of the piece.

horizontal rule

Here is a study score for Tower of Ivory.

To purchase the materials needed to perform the piece, please click the button below. Normally, the charge is $35, but in these pandemic days, I have made the price pay-as-you-can. Thank you for supporting this low-key way of publishing:

DETAILS

Preciosilla

Preciosilla is a song setting of Gertrude Stein’s poem that places the text in the realm of the rhythm section instead of in the realm of the melody where lyrics are conventionally found. The composer’s reading of the text was sampled by an Akai S1000. The flutist’s melody has quotes from pop love songs and other familiar music embedded in musical stream-of-consciousness writing that attempts to emulate Gertrude’s handling of text. The piece is dedicated with love to Mary Rodrí­guez, and Margaret Lancaster’s recording of the piece appears on Mary’s birthday in my ongoing project, A Book of Days.

horizontal rule

Cousin to Clare washing.


In the win all the band beagles which have cousin lime sign and arrange a weeding match to presume a certain point to exstate to exstate a certain pass lint to exstate a lean sap prime lo and shut shut is life.


Bait, bait, tore, tore her clothes, toward it, toward a bit, to ward a sit, sit down in, in vacant surely lots, a single mingle, bait and wet, wet a single establishment that has a lily lily grow. Come to pen come in the stem, come in the grass grown water.


Lily wet lily wet while. This is so pink so pink in stammer, a long bean which shows bows is collected by a single curly shady, shady get, get set wet bet.


It is a snuff a snuff to be told and have can wither, can is it and sleep sleeps knot, is is a lily scarf the pink and blue yellow, not blue nor odour sun, nobles are bleeding bleeding two seats two seats on end. Why is grief. Grief is strange black. Sugar is melting. We will not swim.


Preciosilla


Please be please be get, please get wet, wet naturally, naturally in weather. Could it be fire more firier. Could it be so in ate struck. Could it be gold up, gold up stringing, in it while while which is hanging, hanging in dingling, dingling in pinning, not so. Not so dots large dressed dots, big sizes, less laced, less laced diamonds, diamonds white, diamonds bright, diamonds in the in the light, diamonds light diamonds door diamonds hanging to be four, two four, all before, this bean, lessly, all most, a best, willow, vest, a green guest, guest, go go go go go go, go. Go go. Not guessed. Go go.


Toasted susie is my ice-cream.

• Gertrude Stein

horizontal rule

Preciosilla is performable by any single-line instrument plus tape, although up to now I believe it has only been done by flute players. The original version was made for Suellen Hershman, which she premiered on bass flute. There’s also a mix with an extended opening I made for Margaret Lancaster, which she plays on alto and C flute. You can use either version, or you are welcome to make your own mix of the opening and embed your favorite love songs so you have your own custom version. Get in touch with me if you’d like to do this, and we’ll figure out how to get you the materials you need to make a new mix.

You should feel free to alter and inflect the score in any way that helps you to express yourself and interact with the track better. Listen to this compilation playlist of tunes and steal from them or from other love songs whatever suits your instrument or your own personality and capabilities.

horizontal rule

The pre-recorded track is in five sections. It’s probably best for you to trigger these events yourself rather than having a sound person do it for you. Setting up a footswitch to trigger the cues is really easy in Ableton, if you have access to that program. You could also embed the sound files in ForScore I think, though I haven’t tried that yet.

When you purchase the materials using the PayPal button below, I’ll send you a performing score and an Ableton session with the two alternative versions set up for you to perform with. (The Ableton version only requires Ableton Lite, but if you want to use a different program, you can of course import the audio into your software of choice.)

Thank you for supporting this low-key way of publishing, and I look forward to hearing what you do with the piece! Normally, the materials for performing the piece are priced at $50, but in these COVID days, I’ve set it to name-your-own-price, with thanks for supporting this low-key way of publishing.

DETAILS

From the Same Melancholy Fate

From the Same Melancholy Fate (2015) is an improvisatory piece for any instrumentalist, inspired by visionary artist Cleveland Turner, aka the Flower Man. Pete Gershon, author of Painting the Town Orange: The Stories Behind Houston’s Visionary Art Environments, introduces the Flower Man’s story this way: “after seventeen years as a homeless alcoholic, he had a near-death experience in the gutter in 1983. Then, a divinely inspired vision of a whirlwind of colorful junk prompted him to devote the rest of his life to brightening his neighborhood and the lives of countless visitors with the deft arrangement of colorful refuse.” The Flower Man worked on his whirlwind constantly, roaming the neighborhood to forage for abandoned treasures to add to his ever-evolving yard show. But immediately after the Flower Man’s final illness and death (in December 2013), the house and its array of urban detritus began to decay. On 7 February 2015, the city demolished the structure, and it is now a vacant lot. Matt Petty’s video documents that day.

The player is given a pre-recorded track which has as its base my reading of Louise Glück’s poem recorded and re-recorded in space so that it is engulfed by room resonance (a la Alvin Lucier’s I am sitting in a room), along with additional layers of music and song. The performer records every performance of the piece, and each performance recording becomes the pre-recorded track for the next performance. Thus the original track gradually disappears into the new layers, the performer responds to his/her previous self as part of the counterpoint of sound, and every performer’s tape part is unique, a palimpsest of previous performances of the piece.

The title of the piece comes from a gravestone Matt Petty showed me the day after I met him for the first time. In the white people’s cemetery in Natchitoches, Louisiana, the gravestone says in its entirety: “Negro, From the Same Melancholy Fate.”

Not I, you idiot, not self, but we, we–waves
of sky blue like
a critique of heaven: why
do you treasure your voice
when to be one thing
is to be next to nothing?
Why do you look up? To hear
an echo like the voice
of god? You are all the same to us,
solitary, standing above us, planning
your silly lives: you go
where you are sent, like all things,
where the wind plants you,
one or another of you forever
looking down and seeing some image
of water, and hearing what? Waves,
and over waves, birds singing.

• Louise Glück: Scilla: from Wild Iris

In addition to being part of Lighten Up, a multimedia project about visionary visual arts, the piece is also part of my ongoing project A Book of Days. Please visit 19 January to watch and listen to Jessie Nucho’s ninth pass on the flute, which I think is the most layered version in existence so far, and I am LOVING it! You can visit 19 October to watch and listen to my most recent (fifth) pass, with a layered video I’m excited about. Yaz Lancaster created a violin version you can hear on 9 May. You can also go here to hear David Steele’s second pass on the clarinet, and here to hear Timothy Rosenberg’s fourth pass on the saxophone.

horizontal rule
To perform From the Same Melancholy Fate, you’ll start with the original pre-recorded track (with the optional video.) You’ll record your performance of the piece each time you play it, and use that performance recording as the pre-recorded track for your next performance. Gradually, the original track will be obscured under the layers of your successive performances.

I’d love for you to send me performance recordings periodically so I can hear where your version of the piece is going. My idea is to gather a bunch of different versions after some time has passed, and figure out some interesting way to present them as a group.

horizontal rule

Please use the PayPal button to purchase the materials. I normally charge $40 for the materials, but I have made it so you can name your own price until public performances are again possible. And thank you for supporting this low-key way of publishing.

DETAILS

Where Your Treasure Is: Mistake

Mistake is one of a series of pieces called Where Your Treasure Is, about the slow disintegration of a painting I inherited. The painting is of an Irish dolmen, a burial mound, and I have placed it on a glacial erratic on my land in Vermont, where I am documenting its gradual decay into the landscape.

The text that inspires the piece is from James Joyce’s Portrait of the Artist as a Young Man:

You made me confess the fears that I have. But I will tell you also what I do not fear. I do not fear to be alone or to be spurned for another or to leave whatever I have to leave. And I am not afraid to make a mistake, even a great mistake, a lifelong mistake and perhaps as long as eternity too.

The piece is also part of my ongoing project A Book of Days. Please visit March 21st to listen to the piece, with a video by Emma Courtney.

horizontal rule
Here is a score of the piece, which requires four keyboard players on three pianos (or electronic keyboards.) In addition, there is a drumset part, which can be improvised by a live player, or done as a pre-recorded track.

horizontal rule

Thank you for supporting this low-key way of publishing.

DETAILS

I will not be sad in this world

Originally written for alto (or bass) flute, I will not be sad in this world is based on the Armenian troubadour Sayat Nova’s song Ashkharumes Akh Chim Kashil. The piece is often played on the duduk, and your flute playing should respond to the ornamentation, intonation, and vibrato of traditional duduk playing.

I will not be sad in this world is part of my ongoing project, A Book of Days. You can listen to Tim Munro’s live recording by visiting June 28th. There are several studio recordings available, including those by Marya Martin, Manuel Zurria, and Claudia Anderson.

Thanks to Marya Martin who commissioned the piece for the Flute Book for the 21st Century. You can purchase the performance materials here. Many thanks to my dear friend and colleague Margaret Lancaster, who tried out the piece for me and advised me about notation. Thanks also to the Civitella Ranieri Foundation who were my generous hosts while I was writing I will not be sad in this world.

DETAILS

Walking Music

Walking Music was originally written for an opera based on a Stephen King story called The Man in the Black Suit. This music accompanies a boy’s walk to the stream where he unexpectedly meets the devil. It’s a decorated arrangement of an old hymn of the sort the boy might have been humming as he walked. The hymn, called The King of Love, is a reworking of Psalm 23, set to an old Gaelic tune.

Several years after making the piece, I made an arrangement that can be played as part of the River Project. Thankfully, I did not meet the devil on my journey down the river(!) But I feel that the music captures something of the trusting elation I sometimes felt on the journey.

Walking Music is part of my ongoing project, A Book of Days. You can listen to a live performance by BRIM and the Guidonian Hand visiting May 11th.

horizontal rule

The original version of this piece is for two singers, two guitars, chorus, string quartet, and optional stream ambience. The BRIM and Guidonian Hand version is for singer, violin, guitar, trombone quartet, and piano. You can download a score of that version here. If you would like a version that works for your ensemble, just let me know your needs.

And thanks for supporting this low-key way of publishing!

DETAILS

Wolf Chaser

Wolf Chaser: for amplified and processed violin, wolf chaser, optional percussion, electronics, and optional video

horizontal rule

In the early summer of 1995, the violinist Robin Lorentz gave me a wolf chaser – a tool made of whale baleen for scaring wolves in the Arctic. It had been a gift, in turn, from the man who made it, James Nageak. I sampled the wolf chaser and made a recording that slowed the sound down so far that you can hear the sampling rate as a rhythm (sort of the audio analog to the jaggies you see when displaying curves at low resolution on a computer.) That recording is the bed for this piece for acoustic wolf chaser, amplified and processed scordatura violin, and optional metallic percussion. In 2008, Vittoria Chierici (with editor Phil Hartley) made a video to accompany live performances of the piece.

Here’s the video with Robin Lorentz’s recording of the piece:

horizontal rule

Click here for the score of the piece, which includes all the information you need to know about playing it.

If you would like to play the piece, please order the materials below and let me know the following information:

  • whether you want to do the percussion part live (I haven’t yet implemented the percussion processing in Ableton’s Live, but can do it easily with a bit of notice.)
  • in which format you want the video (DVD or embedded in Ableton)
  • proposed dates of your performance(s), so we can figure out logistics for lending you the wolf chaser.

DETAILS

Waiting for Billy Floyd

Waiting for Billy Floyd was written in response to Eudora Welty’s short story, At the Landing, which takes place in a town called Rodney, Mississippi, that I visited during a trip down the Mississippi River in November 2009 with Mary Rowell and again over Easter weekend 2010 with H. C. Porter. The river pilot and poet David Greer was my guide and compass, both practically and conceptually, through this part of Mississippi, and it was he who selected which Welty stories I needed to re-read and which towns I had to be sure not to miss. I am grateful to these three traveling companions, and to Despina Sarafeidou, who helped me when I got stuck.

horizontal rule

Whenever she thought that Floyd was in the world, that his life lived and had this night and day, it was like discovery once more and again fresh to her, and if it was night and she lay stretched on her bed looking out at the dark, a great radiant energy spread intent upon her whole body and fastened her heart beneath its breath, and she would wonder almost aloud, “Ought I to sleep?” For it was love that might always be coming, and she must watch for it this time and clasp it back while it clasped, and while it held her never let it go.

•

Then the radiance touched at her heart and her brain, moving within her. Maybe some day she could become bright and shining all at once, as though at the very touch of another with herself. But now she was like a house with all its rooms dark from the beginning, and someone would have to go slowly from room to room, slowly and darkly, leaving each one lighted behind, before going to the next. It was not caution or distrust that was in herself, it was only a sense of journey, of something that might happen. She herself did not know what might lie ahead, she had never seen herself. She looked outward with the sense of rightful space and time within her, which must be traversed before she could be known at all. And what she would reveal in the end was not herself, but the way of the traveler.

•

“She’s waiting for Billy Floyd,” they said.

•

The original smile now crossed Jenny’s face, and hung there no matter what was done to her, like a bit of color that kindles in the sky after the light has gone.
from At the Landing

horizontal rule

Waiting for Billy Floyd is part of my ongoing project A Book of Days. You can visit 3 April to hear and see Newspeak’s live performance of Waiting for Billy Floyd.

horizontal rule

Here are scores for two different versions of Waiting for Billy Floyd.
original sextet version [fl, cl, vln, vc, pf, perc]
octet version [Newspeak version: as above, plus guitar and trombone]

When you order the performance materials by clicking the button below, please let me know the instrumentation you need. There is some flexibility, so talk to me if you have specific needs for your ensemble.

A set of images of Rodney, Mississippi can be projected as part of the performance of the piece. Please let me know if you would like those materials as well.

DETAILS

Well-Spent

Well-Spent (2011) was written in response to a line in one of Leonardo’s notebooks that I came across soon after traveling down the Mississippi River by kayak and bicycle in 2009.

L’acqua che tochi de fiumi, è l’ultima di quella che andò, e la prima di quelle che viene; così il tempo presente. La vita bene spesa lunga è.
Leonardo: Notebook 1174

The water you touch in a river
is the last that has passed
and the first that is coming;
so with the present moment.

The well-spent life is long.
(evb translation)

The pre-recorded track of Well-Spent is made from Mary Rowell’s recording of the Muddy Waters 1942 tune You Got to Take Sick and Die Some of These Days. Well-Spent was commissioned by Ron Blessinger and the Third Angle Ensemble in memory of Donna Drummond. Many thanks to the Montalvo Arts Center, where I made the piece.

horizontal rule

To hear a live performance by Mary Rowell please visit April 19  in my ongoing project A Book of Days.

It’s also possible to perform Well-Spent with two live violins along with the pre-recorded track. You can hear the duo version performed by Ron Blessinger and Mary Rowell on this recording.

horizontal rule

Here is a score of the piece in pdf format.

The charge for the performance materials is normally $50, but it is now pay-as-you-like until public performances are possible again. After you click the button below, you’ll get a link to download the pre-recorded track. If you’d like an Ableton Live session for easy click playback, just let me know.

DETAILS

The Flood

The Flood is a setting of a poem Robert Frost wrote in 1928, in response to the 1927 flood of the Mississippi River that destroyed a million homes, drove hundreds of thousands of people – mostly poor and African-American – north, and transformed America.

Blood has been harder to dam back than water.
Just when we think we have it impounded safe
Behind new barrier walls (and let it chafe!),
It breaks away in some new kind of slaughter.
We choose to say it is let loose by the devil;
But power of blood itself releases blood.
It goes by might of being such a flood
Held high at so unnatural a level.
It will have outlet, brave and not so brave.
Weapons of war and implements of peace
Are but the points at which it finds release.
And now it is once more the tidal wave
That when it has swept by leaves summits stained.
Oh, blood will out. It cannot be contained.

My land in Vermont is just a few miles from where Frost lived for many years, and I felt what I imagine to be a parallel rage and impotence in response to Katrina.

The Flood is one piece in a projected evening-length project about floods and transformation, which will also respond to the ongoing tragedy of Katrina, the Biblical flood, and the Mississippi River and its place in American culture.

The Flood is October 22nd in my ongoing project A Book of Days. The premiere recording of the piece is on Songs from the River Project, Volume 1.

horizontal rule

Here is a score of the piece in pdf format. I’m open to you arranging it for your ensemble; let me know what you have in mind. I can supply you with a backing track for your specific needs.

And you are warmly invited to support this very low-key way of publishing:

DETAILS

Take Your Joy

Take Your Joy is a piece for SATB mixed chorus (minimum 6-6-3-3 singers, but the bigger the better) and electronics. The piece is a response to an organ piece by Olivier Messiaen called Puer natus est nobis, which is part of the Livre du Saint-Sacrement. The choral part is a canon made from Messiaen’s harmonization of the traditional Christmas day introit. I have also incorporated an excerpt from John 16:21-23:

When a woman is in labor, she has pain, because her hour has come. But when her child is born, she no longer remembers the anguish because of the joy of having brought a human being into the world. So you will have pain now; but I will see you again, and your hearts will rejoice, and no one will take your joy from you.

The electronic part, both the pain and the joy, is made using transformations of a recording of the olive-tree warbler (hippolais olivetorum). This birdcall appears transcribed for organ in Messiaen’s piece. The olive-tree warbler uses Palestine/Israel as a stopover in its winter migration between the Balkans and southern Africa.

Take Your Joy was commissioned by the Amherst College Choir, Mallorie Chernin, conductor, and written in October 2004 while in residence at the Atlantic Center for the Arts in New Smyrna Beach, Florida.

Take Your Joy is part of my ongoing project, A Book of Days. To hear a demo recorded by Corey Dargel, Joseph Hallman, and me at the Atlantic Center, please visit April 6th.

horizontal rule

Here is a score of the piece in pdf format. For the pre-recorded track needed to perform the piece, please click the button:

DETAILS

FlamingO

FlamingO is a sixteen minute piece for three simultaneous bands: the first, on your left, is the wolf chaser band, named after the whirling Inuit instrument (given to me by Robin Lorentz) played by the percussionist of that band at the beginning and end of the piece. The wolf chaser has also been recorded and electronically transformed: slowed way down in speed without changing the pitch, and then ring-modulated and otherwise warped, to create a bed (played back on CD) for the whole piece. The remaining wolf chaser band members focus on arpeggiations which are all motivic outgrowths of the sound of the wolf chaser. (For another piece that works with this same source material, see Wolf Chaser.)

The flamingo band (center) similarly gets their music from a sampled source: they are playing with sampled flamingo honks (given to me by Stephen Erickson), and their take on the flamingo sounds tends to be homophonic.

In contrast to the arpeggiations and homophony of the other two bands, the “metalastic” band (right) plays canonically inflected music, taking as their primary starting point an unidentified bird sample (given to me by Marilyn Ries.)

Each band takes a solo, and when they are all playing together things are complicated in a way I find more fun than straight cacophony: you can still hear the characteristic musics of the three bands, and you can choose what to focus on, and depending on your choice, all the other stuff seems to support you.

horizontal rule

FlamingO was commissioned by Eric Grunin and the Crosstown Ensemble and premiered by them in 1995. It was revised in 2004 for a performance by the American Composers Orchestra. It was recorded in 2005, with the support of Frederick and Alexandra Peters, for my New World Records CD, Tell the Birds.

Here is a score of the piece in pdf format. For performance materials, please contact me.

DETAILS