I wrote Did he promise you tomorrow? on 7 February 2011 as a memorial to Steven Dennis Bodner (1975-2011.) The title is something a woman named Carla asked me in a bar in Los Gatos, California precisely one year earlier, on 7 February 2010, while Chris Porter and I were watching the New Orleans Saints beat the Minnesota Vikings in the Super Bowl. I had never watched a Super Bowl before, but the fact of two river cities being in contention made it sort of a required event that year. I don’t know what Steve’s attachment to the Super Bowl may or may not have been, but I do know that he loved Louis Andriessen’s music passionately, so I have re-purposed a lick from De Volharding as the basis of the piece.
Did he promise you tomorrow? is part of my ongoing multimedia project A Book of Days. You can hear Matt Petty and me doing a wacky all-harpsichord version by going to February 7th. And you can purchase a wind and brass heavy version here.
The piece can be performed by virtually any group of at least six instruments and/or singers. You can arrange your own score from the six conceptual lines. The pdf called vocal score is the simplest arrangement. You can look at the Newspeak arrangement to see one approach to arranging the piece for larger forces.
You are warmly invited to support this low-key way of publishing. Once you make your purchase, we will send you a Finale file so you can make your very own arrangement of Did he promise you tomorrow?
Brownie Feet is a messed up mashup with several sources: Feet Can’t Fail Me Now, a NOLA standard by the Dirty Dozen Brass Band, and the first movement of the Bach G minor Violin Sonata are the two necessary ones. If you like, you can perform the piece alongside my recording of a progressively more and more messed up James Brown Funky Drummer sample and George W. Bush’s 2 September 2005 press conference, but I’d prefer for you to work with a live drummer and/or sampler/laptop/turntable player so you can mess things up your own way.
The original version of this piece is called Cattle Feet, and it combines Feet Can’t Fail Me Now with a Phil Collins lick, and is performed on multiple trombones as a half-time number for David Neumann’s dance piece, Feed Forward. Bach and George Bush got enveloped into it for Peggy Gould’s From Within and Outside a Bright Room Called Day, where we did it as a vocal piece with live drums. And now here’s the score arranged for string quartet. You can welcome to perform The Flood as a companion piece to Brownie Feet or not, as you desire.
Brownie Feet is part of my ongoing project, A Book of Days. You can watch Tom Emerson’s video for the piece along with a performance of the vocal quartet version by visiting September 3.
A studio recording of the BRIM + Guidonian Hand octet version of the piece is available on Songs from the River Project, Vol. 2.
Here is a score of the string quartet version of the piece in pdf format. I’m open to you reorchestrating it for your ensemble; let me know what you have in mind.
And you are warmly invited to support this very low-key way of publishing:
What Justice Looks Like was written for Payton MacDonald to perform at South Pass City as part of his Sonic Divide project. Esther Hobart Morris (1814-1902) served as Justice of the Peace there in 1870, during the Gold Rush, right after women were given the vote in Wyoming Territory. After her term was over, she had her husband arrested for assault and battery. She eventually left both him and South Pass City, becoming an activist for women’s rights nationally.
What Justice Looks Like is part of my ongoing project, A Book of Days. You can listen to my recording by visiting Valentine’s Day, which is the day when Esther was sworn in as Justice of the Peace.
Here’s the vocal score at the transposition that works best for me. I am happy to supply you with a different transposition, just let me know what you need when you click the donation button below.
I think you want to think of this piece as an intimate invocation to Esther. You’ll want to find the transposition that lets both the lowest and the highest notes of the (rangy) vocal line be vulnerable and loving. You are welcome to do the piece slower (or faster) than the marked tempo if you like, and you don’t need to stick too precisely to the notated rhythms as long as the phrases stay coherent.
You can do it as a solo vocal piece, or you can invent a rhythmic accompaniment that helps you express the piece, adding extra bars of rest between verses for improvisational flourishes as you prefer. If you like a drone, feel free to use one. For the demo, I used Henry Lowengard’s excellent iPhone app, Srutibox, in just intonation mode. And I added a couple of totally optional samples from “Suffragette City”, which I’ll send you if you want them.
And thank you for supporting this low-key way of publishing:
Oh, I’m sad for never knowing courage,
And I’m sad for the stilling of fear.
Close to the sun now and farther from the heart.
I think that my end must be near.
I linger too long at a picnic
’cause a picnic’s gayer than me.
And I hold to the edge of the table
’cause the table’s stronger than me.
And I lean on anyone’s shoulder
Because anyone’s warmer than me.
I have been mulling over this 1942 poem by Jane Bowles since I first encountered it in 2000. I think the poem is unbearably sad: the embodiment of a specific kind of mid-20th-century female unhappiness. I do not live this life, but I am very conscious of having escaped it.
The song showed up unannounced one day while I was in residence at Ucross in the spring of 2016.
Farther from the Heart is part of my ongoing project, A Book of Days. You can listen to my recording by visiting 3 November.
Here’s the vocal score at the transposition that works best for me. I am happy to supply you with a different transposition, just let me know what you need when you order the materials below.
And thank you for supporting this low-key way of publishing.