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.

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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.

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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

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Here is Newspeak’s live performance of Waiting for Billy Floyd.

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.

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Machaut in the Age of Motown

Machaut in the Age of Motown (2005) is a transcribed mashup of two pre-existing works: The Bells, written by Marvin Gaye (1970) as sung by The Originals, and Tels rit from the Remede de Fortune (1340) written by Guillaume de Machaut as sung by the Project Ars Nova Ensemble. It’s the fifth piece in a series called Machaut in the Machine Age, which I have been making every now and then since 1986 in response to the music and poetry of Guillaume de Machaut, the fabulous 14th century French composer.

Originally scored for soprano sax, clarinet, violin, bass, bells, vibes, piano, and drumset, I am happy to adapt the piece for your forces. You can download the score and listen to a live performance:

And you can listen to the original mashup of Marvin and Machaut on 7 November in A Book of Days.

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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.

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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.

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

Testy Pony

Testy Pony is a setting of the poem of the same name by Zachary Schomburg. I read the poem shortly before the first concert of my River Project and felt it embodied something about my trip down the Mississippi River.

Here is the text of the poem:

I am given a pony for my birthday, but it is the wrong kind of pony. It is the kind of pony that won’t listen. It is testy. When I ask it to go left, it goes right. When I ask it to run, it sleeps on its side in the tall grass. So when I ask it to jump us over the river into the field I have never before been, I have every reason to believe it will fail, that we will be swept down the river to our deaths. It is a fate for which I am prepared. The blame of our death will rest with the testy pony, and with that, I will be remembered with reverence, and the pony will be remembered with great anger. But with me on its back, the testy pony rears and approaches the river with unfettered bravery. Its leap is glorious. It clears the river with ease, not even getting its pony hooves wet. And then there we are on the other side of the river, the sun going down, the pony circling, looking for something to eat in the dirt. Real trust is to do so in the face of clear doubt, and to trust is to love. This is my failure, and for that I cannot be forgiven.

Testy Pony is part of my ongoing project A Book of Days. You can go to October 12th to hear Hamilton Cheifetz’s recording of the piece. The recording is also available on Songs from the River Project Volume 2.

Matt Petty has made a video to accompany his performance of Testy Pony on trombone. You can hear and see his version here. If you are interested in projecting Matt’s video alongside your performance of the piece, please let me know.

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Here is a score of the piece. When you click on the donation button below, I will supply you with all the necessary performance materials.

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

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Dust

The music of Dust was originally part of a score written for the Axis Dance Company and choreographed by Victoria Marks. The excerpted version adds this text from Ezekiel.

So the Spirit lifts me up, and I hear behind me the sound of a great rushing, “blessed be the glory of the Lord in his dwelling place!”… the sound of the wings of the living creatures brushing against one another, and the sound of the wheels over-against them, the sound of a great rushing.

The Spirit has lifted me up, and takes me; and my heart, as I go, overflows with bitterness and heat, and the hand of the Lord is heavy upon me.

Dust is part of my ongoing project A Book of Days. You can listen to my recording and see Matt Petty’s accompanying video of the Prophet Isaiah Robertson and his visionary artwork in Niagara Falls by visiting October 5th.

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Here is a score of the piece in pdf format. The piece can be performed by female or male alto, or by any instrumentalist whose instrument is right for the solo part. If you would like a version with a different transposition or clef, just let me know when you order the pre-recorded track.

You can also feel free to add percussion to a live performance of the piece. Bicycle wheels have been used as instruments for this purpose quite effectively.

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

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Early in the Morning

I remember having once walked all night with a caravan and then slept on the edge of the desert. A distracted man who had accompanied us on that journey raised a shout, ran towards the desert and took not a moment’s rest. When it was daylight, I asked him what state of his that was. He replied: ‘I saw bulbuls commencing to lament on the trees, the partridges on the mountains, the frogs in the water and the beasts in the desert so I bethought myself that it would not be becoming for me to sleep in carelessness while they all were praising God.’

Yesterday at dawn a bird lamented,
Depriving me of sense, patience, strength and consciousness.
One of my intimate friends who
Had perhaps heard my distressed voice
Said: ‘I could not believe that thou
Wouldst be so dazed by a bird’s cry.’
I replied: ‘It is not becoming to humanity
That I should be silent when birds chant praises.’
Sa’di: Gulistan II:26

Early in the Morning was inspired by a text in the Gulistan (Rose Garden) by the 13th century Persian poet and mystic Sa’di, which is said to be one of the most widely read books ever produced. Saadi was beloved by Emerson and Thoreau, and a quotation from his poetry adorns the entrance to the Hall of Nations in New York, but his work is currently virtually unknown in the United States.

While traveling down the Mississippi River in 2009, I was awakened in Iowa one night by an incredible din of frogs and insects. I recorded the racket, and its percussion creates the rhythmic material for the piece. About a year later, I happened upon a work chant from the Mississippi Delta called Early in the Morning,” which was recorded in the 1947 by Alan Lomax for the Library of Congress. An adaptation of that work song became the basis for this piece.

Well, it’s early in the morn-
in the morning, baby
When I rise, Lordy mama
Well, it’s early every morning a-baby
When I rise well-a well-a
It’s early in the morning, baby
When I rise, Lordy baby
You have-, it’s I have misery, Berta,
Wa, in my right side
Well-a, in a my right side, Lordy baby-
R-in-a my right side, Lordy, sugar.
Well, it’s I have a misery, Berta,
R-in-a my right side, well-a.

(Chorus)

Well-a, it’s-a, Lordy, Ro-Lordy-Berta,
Well, it’s Lord (you keep a-talkin’), babe,
Well, it’s Lord, Ro-Lordy-Rosie,
Well, it’s, o Lord, Gal, well-a.Well-a, whosonever told it, That he told a-
he told a dirty lie, babe.
Well-a, whosonever told it, that he told a-
he told a dirty lie, well-a.
Well-a, whosonever told it, that he told a-
he told a dirty lie, babe.
Well the eagle on the dollar-quarter,
He gonna rise and fly, well-a.
He gonna rise and fly, sugar.
He gonna rise and fly, well-a.
Well the eagle on the dollar-quarter,
He gonna rise and fly, well-a.

(Chorus)

Well-rocks ’n gravel make -a
Make a solid road
Well-a takes a-rock –a gravel make a
To make a solid road, well-a
It takes a good lookin woman to make a
To make a good lookin whore
Well-a It takes a good lookin woman, Lord, Baby
To make a good lookin whore, Lord sugar
It takes a good lookin woman to make-a
To make a good lookin whore, well-a

(Chorus)

Boys, the peckerwood a-peckin’ on the-
On the schoolhouse door, sugar.
Well, the peckerwood a-peckin’ on the-
R-on the schoolhouse door, Well-a.
Well, the peckerwood a-peckin’ on the-
On the schoolhouse door, sugar.
Well he pecks so hard, Lordy, baby,
Until his pecker got sore, well-a,
Until his pecker got sore, Lordy, baby,
Until his pecker got sore, Lord, sugar.
Well he pecks so hard, Lord, mama,
Until his pecker got sure, well-a.

(Chorus)

Well, hain’t been to Georgia, boys,
but, Well, it’s I been told, sugar.
Well, hain’t been to Georgia, Georgia.
But, it’s I been told, well-a.
Well, haint been to Georgia, Georgia.
But, it’s I been told, Lord, mama.
Work Song, Parchman Farm, 1947

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Here is a score of the piece in pdf format. This score is the version for flute, clarinet, violin/viola, cello, piano, and percussion. There are other orchestrations of the piece for up to 16 players. If you would like a customized orchestration for your ensemble, up to and including concert band, please get in touch with me.

Early in the Morning is part of my ongoing project A Book of Days. You can hear Kisatchie Sound’s recording of the piece, which is called the Lulu in the Gaslight Mix, by visiting September 14th.

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