Instrumentation: open instrumentation

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.

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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.

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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.

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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

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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.

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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.

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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.

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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.

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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.

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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.

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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!

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Until It Blazes

Until It Blazes is an amplified solo piece for piano, guitar or other plucked string instrument, harp, marimba, or vibes. The piece requires a stereo multi-tap digital delay for processing, and some kind of distortion processing for the ending. You can also perform the piece using a MIDI keyboard or mallet controller. (If you’re using a MIDI instrument, you can implement the delay in MIDI, if it’s easier to do that than to use an audio delay.)

The piece’s duration is variable: I imagine it could work at any duration between six and twenty minutes. I have made a twelve minute version, but it is only one possible version of the piece: please don’t regard it as definitive.

The overall idea of the piece is to set up various repeating patterns and then gradually group the notes so that new melodies grow out of the accents. For example, when you are playing a three-note pattern, if you accent every fourth event, you will get one melody; if you accent every fifth event, you will get a different melody.

There are six patterns in Until It Blazes, each an outgrowth of the previous pattern. In each case, you will first want to establish the pattern very softly with no accents at all, and then very gradually begin to stress a grouping that creates a slower melody arcing across the pattern. This accenting happens gradually during a slow overall crescendo, reaches some high point, and then the accenting recedes as you diminuendo. The length of the piece will vary depending on how slowly you want the cross-melodies to build and recede. The most interesting place is where you can hear both the pattern and the melody that cuts across it.

Prior to beginning to play the piece, you can say the words: “I have cast fire upon the world, and watch, I am guarding it until it blazes.” This line is attributed to Jesus in the gnostic Gospel of Thomas.

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Cory Arcangel has created a video for the piece that can be played back in live performance. If you are interested in this aspect of the piece, please get in touch with me.

The stereo delay should be set up as follows: The left channel should have a delay time of 454 ms (equivalent to a dotted eighth at MM = 99) and should give three repeats. The right channel should have a delay time of 303 ms (equivalent to an eighth note delay at MM = 99) and have four repeats. The delay should be set to approximately 70% of the volume of the direct sound. The direct sound should come from the center of the stereo field.

Once you have reached the last pattern, you want to very gradually bring in distortion or some other processing that gives the feeling of a watched fire beginning to blaze. Performers have handled this in a variety of ways, and I am open to all of them.

Until It Blazes is dedicated to Kathy Supové with love and thanks.

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There are four studio recordings of Until It Blazes currently available; all are performed on guitar. Here is Giacomo Baldelli’s 2018 recording, which is preceded by Kate Soper performing the text. Here is Giacomo Fiore’s recording; here is Emanuele Forni’s; and here is Seth Josel’s. As you prepare to play the piece, you might also want to listen to my original keyboard version.

Until It Blazes is part of my ongoing project A Book of Days. You can go to April 15th to hear and see Al Cerulo’s 2020 glockenspiel version.

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I normally ask people to pay $25 for this score, but because this piece is totally workable for a solo player to put together in isolation, I have made it set-your-own-price until live concerts are a thing again. I hope it provides you some pleasure in the meantime:

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The Marriage of Heaven and Hell

The Marriage of Heaven and Hell is a setting of three proverbs from William Blake’s book of the same name. The piece was commissioned and premiered by the Philadelphia ensemble Relâche in 1994.

 

opposition is true friendship

This proverb is the underlying concept for the first section of the piece: I’ve set up the standard son clave pattern of latin music, but offset metrically in a different way for each performer, so that the perceived downbeats of each person’s part are in opposition to one another.

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energy is eternal delight

This proverb is the underlying concept for the second section of the piece.

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you never know what is enough unless you know what is more than enough

This proverb is the underlying concept and the sung text for the last section of the piece. {In fact, it is possible to perform this last section on its own: it was originally written for soprano, piano, and acoustic bass and called Enough.} As you will notice, the piece devolves into the Bach chorale Es ist genug (it is enough) at the end. You can go here to hear about how I embedded a reference to this piece into my orchestra piece, The Continuous Life.

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You are welcome to download a copy of the score of the piece. while it was originally written for the instrumentation of Relâche, it’s pretty adaptable to re-orchestrations.

A recording of The Marriage of Heaven and Hell is available on my New World CD, Tell the Birds, which you can get at all the usual places. You can also listen to the recording of the complete piece on Youtube.

I welcome you to click the button to get a set of performance materials for The Marriage of Heaven and Hell. The suggested price is $50, but I have set it to so that you can pay whatever amount works for you, with my thanks for supporting this low-key way of publishing.

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[All the graphics on these pages are from william blake’s illustrations forThe Marriage of Heaven and Hell, although I messed with them a bit. I figure if he hand-colored each copy, I’m free to color these copies, no?!]

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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.

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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:

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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.

You can listen to my original mashup here.

And you can listen to a live recording from the 2018 New Music on the Point Festival by visiting 7 November in A Book of Days.

While the piece was originally scored for soprano sax, clarinet, violin, bass, bells, vibes, piano, and drumset, I am happy for the piece to be adapted for your forces. Here’s a score of a version for soprano and alto sax, viola, bass, bells, vibes, piano, and drumset.

For a set of performance materials, please click the paypal button below, and thank you for supporting this low-key way of publishing.

 

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Light up Your face

Light up Your face began as a piece about the murder of Medgar Evers on 12 June 1963. Eudora Welty wrote a story the next night from the point of view of the murderer, who had not yet been identified. It has been hailed as an uncanny portrait of the killer, but it is wrong in one important respect. Byron De La Beckwith was not an impoverished nearly illiterate redneck, he was an upstanding middle class salesman and WWII veteran, who along with participating in the White Citizens’ Council and the Ku Klux Klan, regularly attended the Episcopal Church in Greenwood, MS.

That last fact is the inspiration for the piece, which includes an excerpt from Eudora Welty’s story against my harmonization of the chant version of the refrain of Psalm 80: Light up Your face, that we may be rescued.

After three trials, Byron De La Beckwith was finally convicted of first-degree murder in 1994.

The video for Light up Your face is a collaboration between Bradley Wester and Matt Petty. Bradley works with an image of Medgar Evers’ home in Jackson, Mississippi, and the carport where he was killed. Matt Petty’s contribution is a meditation on the murder of James Craig Anderson in Jackson in 2011, a murder committed by a group of white high school students from the neighboring town of Brandon. The students were convicted of their crime and are currently serving time in federal prison. The family of James Craig Anderson asked that the murderers be spared the death penalty.

Light up Your face is part of my ongoing project, A Book of Days. You can watch and listen to the piece by visiting June 12th.

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The original version of this piece is for actor, singer, and piano. You can download it here. The piano part can be replaced by chamber ensemble or chorus. If you would like a version that works for your ensemble, let me know your needs. Please get in touch with me for more information about showing the video as part of your performance.

And thanks for supporting this 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

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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 n 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 to make 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:

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Play Like a Girl

Play Like a Girl was commissioned for the BASK Collective by the University of Idaho for a multimedia project in which the keyboard player, Kristin Elgersma, asked for the possibility of playing either grand piano or toy piano, or both, depending on performance constraints. My solution was to write a set of eight variations on Kaval Sviri, one of those Bulgarian Women’s Chorus pieces that were a surprise hit in the late 1980’s. If their ferociously joyous singing is girl music, I’m there! Some of my variations are for grand piano, some for toy piano, and some for celeste or harpsichord or other “girly” instruments, I’m open for you to arrange and adapt as you like. The variations can be played in any combination, simultaneously (with pre-recorded tracks) or successively, allowing for a total of eight factorial (40,320) versions of the piece.

After I completed the piece, I learned that the same song had been adapted as the theme music for the late 90s cult classic TV show Xena: Warrior Princess. Now that I’ve checked out the show, I’m definitely enjoying picturing Lucy Lawless in full battle garb playing the toy piano like the girl she is.

Here is a link to the Bulgarian State Women’s Chorus performance of the arrangement that inspired my piece:

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Here is a score of the complete piece in pdf format.

Play Like a Girl is part of my ongoing project, A Book of Days, where I post a different version of the piece on the 13th of each month. I’ve also made a downloadable streamable playlist of various demos and live performances, check it out!

I normally charge $50 for the performing materials for this piece, but I’ve made it pay-as-you-like for the duration of the pandemic. When you click the Buy Now button below and pay whatever you choose (including nothing), you’ll get a link to download all eight individual scores and recordings, along with various arrangements I’ve made, which will give you the materials you need to make your own version of the piece. If you’d like an Ableton Live session with my MIDI and pre-recorded tracks already set up for karaoke-style playback and re-mixing, I can send you that also.

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You can also read a short take on “being a girl” in the second paragraph of this blog post from The River Project.

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Machaut in the Machine Age I: Douce dame jolie

Machaut in the Machine Age I: Douce dame jolie is the first of a series of pieces that use the music of Machaut as a jumping-off point for various juxtapositions of his art with mine. This one was originally written in 1986 for Daniel Druckman (percussion) and Alan Feinberg (piano) as an opener for their duo recitals.

The Tisch School of the Arts commissioned an arrangement of the piece for flute, Bb clarinet, violin, cello, piano, and percussion in 1990 so that choreographer Monica Levy could use it for a dance work.

Machaut in the Machine Age I: Douce dame jolie is part of my ongoing project, A Book of Days. You can listen to the trio version by visiting March 17th.

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Currently there are three versions of the piece available, the original duo for piano and pitched percussion; a trio version for toy piano and piano with percussion (one player on vibes and glockenspiel), and the chamber ensemble version.

When you order the performance materials by clicking the button below, please let me know which version you need. The instrumentation can be changed beyond the three versions above, so talk to me if you have specific needs for your ensemble.

Thanks for supporting this low-key way of publishing!

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Michael’s Spoon

The inspiration for Michael’s Spoon was this text from the end of J.M. Coetzee’s 1983 novel The Life and Times of Michael K.

And if the old man climbed out of the cart and stretched himself (things were gathering pace now) and looked at where the pump had been that the soldiers had blown up so that nothing should be left standing, and complained, saying, “What are we going to do about water?,” he, Michael K, would produce a teaspoon from his pocket, a teaspoon and a long roll of string. He would clear the rubble from the mouth of the the shaft, he would bend the handle of the teaspoon in a loop and tie the string to it, he would lower it down the shaft deep into the earth, and when he brought it up there would be water in the bowl of the spoon; and in that way, he would say, one can live.
J. M. Coetzee: Life and Times of Michael K

Michael’s Spoon was originally written as an all-electronic piece which is the second movement of the five-movement piece The Garden of Cyrus. That piece was released on my 1998 CD, Overstepping.

Michael’s Spoon is part of my ongoing project, A Book of Days. You can listen to the electronic version and watch Mechele Manno’s video by visiting February 9th.

The chamber ensemble version of Michael’s Spoon was originally made in 2004 for performances by the Robin Cox Ensemble. You can download a score of that version here. You are welcome to substitute instruments as desired for your ensemble. Alternatively, the piece can be performed by a solo player on the cello part (or shared by low brass), with all the other parts pre-recorded. Here’s a performing score of the two-trombone version. In addition, there’s now a 2018 quartet version for trombone, piano, and one or two percussionists (on glock and vibes.) When you order the performance materials, let me know what version you’re interested in. I can also supply the score in xml format so you can make your own arrangement. Thanks for your interest in Michael’s Spoon!

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13one

13one was written for the trombonist Will Lang. He asked for a thirteen-note piece that could be played solo or in conjunction with other thirteen-note pieces. I decided to make my piece an homage to John Cage on his 100th birthday.

You are welcome to play the version I cast for Will for the premiere, which is in the downloadable score you will find below. Each of the thirteen notes should be played for the duration of one breath at a generally quiet dynamic. The thirteen notes do not need to be played evenly: let your breath determine the duration of each note. Also, if a particular hexagram speaks to your condition, feel free to milk it.

IF YOU WOULD LIKE TO MAKE YOUR OWN VERSION OF 13one:

Cast the I Ching using whatever method you prefer. (There is of course an app for this.) Use the chart you will find in the score to translate each resulting hexagram into a note. If the hexagram you cast has changing lines, the next note should be the one associated with the hexagram that results when you change the lines. If your cast for the thirteenth note gives you a hexagram with changing lines, you can

  1. sing the note of the original hexagram while playing the note of the changed version (or vice versa)
  2. vividly imagine the changed version’s note after you finish playing the thirteen written notes
  3. sing the note to yourself at some later time
  4. use it as the first note of your next performance of the piece
  5. invent your own use for the extra note

If you wish, you can play the piece into a very long delay a la Brian Eno. Set the delay to be longer than the duration of any individual note you are likely to play. Depending on the regen you set, the delay can end up keeping all thirteen notes in play, with a fadeout to nothingness as the delays gradually dissipate. A standard delay pedal is not likely to be long enough for this purpose: you will probably need a computer. I have made a Max for Live patch that implements a long delay (up to 13 seconds), which I am happy to send you when you order the performance materials.

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13one is part of my ongoing project, A Book of Days. You can listen to Matthew Petty’s live performance with the long delay by visiting September 5th.

For a score of the piece, pay what you like at the link below. You are welcome to adapt the piece to any breath-controlled instrument, including voice. And thank you for your support of this very low-key way of publishing:

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All Ways

All Ways was commissioned by Frederick and Alexandra Peters for a project called Songbook for a New Century, an evening of songs about the millennium. I chose this text from Stephen King’s novel It, because I felt I didn’t know anything about the new century.

You don’t know you don’t always

I was right about that.

All Ways is November 27th in my ongoing project A Book of Days. You can hear my live performance of the piece there.

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The piece was originally written for voice and piano. To purchase a copy of the piece, please click the button below. Here is a draft copy of a score which lays out all the conceptual parts. It can be orchestrated to your specifications, so far it’s been done by a chamber chorus with piano, and by a vocal soloist with instrumental ensemble.

And you are warmly invited to support this very low-key way of publishing. I’ve set the price to be pay-as-you-like for the duration of the pandemic:

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Lullaby

Lullaby is for solo voice, female chorus, piano and optional vibes. It can also be done by women’s chorus where the solo part is done by the altos and the chant is done by the sopranos.

The text is a poem by Janet Lewis.

Lullee, lullay,
I could not love thee more
If thou wast Christ the King.
Now tell me, how did Mary know
That in her womb should sleep and grow
The Lord of everything?

An angel stood with her
Who said, “That which doth stir
Like summer in thy side
Shall save the world from sin.
Then stable, hall and inn
Shall cherish Christmas-tide.”

Lullee, lullay,
And so it was that Day.
And did she love Him more
Because an angel came
To prophesy His name?
Ah no, not so,
She could not love him more,
But loved Him just the same,
Lullee, lullay.

Lullaby is part of my ongoing project A Book of Days. You can go to December 25th to hear Lucy Dhegrae’s recording of the piece. The piece is also one in a series called ReThinking Mary.
horizontal ruleFor a score of the piece, please click the Paypal button below, and thank you for supporting this very low-key way of publishing:

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I am really a very simple person

I am really a very simple person is the first piece I wrote after completing a journey by kayak and bicycle down the Mississippi River. It was inspired by something the visual artist H. C. Porter said to me soon after we met, in Vicksburg in November 2009. This choral version uses solfège syllables as the lyrics for the piece, which perhaps will evoke thoughts of the old shape note singing traditions.

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Here is a score of the piece in pdf format.

I am really a very simple person is January 6th in A Book of Days. If you go to the day, you can hear a recording where I am singing all the parts.

I am open to performances of the piece by any group of instrumentalists and/or singers. I can supply you with various different arrangements I have made, or with the Finale or XML file so you can make your own arrangement. Please let me know when you perform the piece. And you are warmly invited to support this very low-key way of publishing:

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Did he promise you tomorrow?

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.horizontal rule

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 vocal score is the simplest arrangement. You can look at the Newspeak arrangement to see one approach to arranging the piece for larger forces.

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Did he promise you tomorrow? is part of my ongoing multimedia project A Book of Days. Please visit February 7th to hear a live performance by Roomful of Teeth.

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You are warmly invited to support this low-key way of publishing. Once you make your purchase (currently donation-based for as long as the pandemic lasts), we will send you a PDF as well as a Finale/xml file so you can make your very own arrangement of Did he promise you tomorrow?

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The Island of the Sirens

The Island of the Sirens (2011) is a piece about defective transcription and the failures of translation.

I started with a recording of a warning siren I heard in Plaquemine, Louisiana, while I was traveling down the Mississippi River in the autumn of 2009. I sliced the warning siren into eight layers of partials and then asked the computer to transcribe those eight recordings into musical notation. Because the computer’s transcription algorithm was confused by the sounds, the resulting scores were quite strange. I recorded eight women singing these transcriptions, and mixed them in quasi-unison against the eight layers of electronically transformed siren. I then made three separate submixes of the electronics, which are fed into three sets of headphones for the backup performers, who can be instrumentalists or singers. The backup chorus is asked to perform in real time what they are hearing in their headphones, a task at which they will invariably fail to fulfill entirely successfully, creating yet more quasi-unison layers that deviate from the actual sound of the transformed siren.

The lead vocal, a setting of Rilke’s poem about the impossibility of describing an experience to those who haven’t shared it, is the only notated music in the piece. It also incorporates elements I heard in the siren recording, filtered through my own biases and limitations.

When his hosts would ask him late in the evening
to tell of his voyages and the perils they brought,
the words came easily enough,
but he never knew

just how to convey the fear and with what startling
language to let them perceive, as he had,
that distant island turn to gold
across the blue and sudden stillness of the sea.

The sight of it announces a menace
different from the storm and fury
which had always signaled danger.
Silently it casts its spell upon the sailors.

They know that on that golden island
there is sometimes a singing–
and they lean on their oars, like blind men,
as though imprisoned

by the stillness. That quiet contains
all that is. It enters the ear
as if it were the other side
of the singing that no one resists.

Rainer Maria Rilke, from New Poems
Joanna Macy, Anita Barrow, translators

The Island of the Sirens was written for the New York ensemble loadbang, and is dedicated to the band with vast affection. The piece is part of my ongoing project, A Book of Days. You can see a live performance by loadbang on December 10th in A Book of Days. 

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In order to perform The Island of the Sirens, you need a lead singer who sings this score, along with three instrumentalists or singers, who listen to individual headphone tracks and imitate what they’re hearing as well as they can. The piece is set up already in Ableton Live, and after you click the payment button below, I’ll send you all the materials you need to perform the piece using Ableton or the DAW of your choice.

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Brownie Feet

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.

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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.

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Here is a score of the string quartet version of the piece in pdf format. I’m open to you re-orchestrating 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:

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The Continuous Life

The Continuous Life (2000) was commissioned as part of a project called Continental Harmony to celebrate the turn of the millennium. Written for the Houston-based Orchestra X, the piece was supposed to celebrate Houston and incorporate electronics and interactivity.

I chose to set a poem by Mark Strand that is about the opposite of celebrating a particular moment in time:

What of the neighborhood homes awash
In a silver light, of children hunched in the bushes,
Watching the grown-ups for signs of surrender,
Signs that the irregular pleasures of moving
From day to day, of being adrift on the swell of duty,
Have run their course? Oh parents, confess
To your little ones the night is a long way off
And your taste for the mundane grows; tell them
Your worship of household chores has barely begun;
Describe the beauty of shovels and rakes, brooms and mops;
Say there will always be cooking and cleaning to do,
That one thing leads to another, which leads to another;
Explain that you live between two great darks, the first
With an ending, the second without one, that the luckiest
Thing is having been born, that you live in a blur
Of hours and days, months and years, and believe
It has meaning, despite the occasional fear
You are slipping away with nothing completed, nothing
To prove you existed. Tell the children to come inside,
That your search goes on for something you lost—a name,
A family album that fell from its own small matter
Into another, a piece of the dark that might have been yours,
You don’t really know. Say that each of you tries
To keep busy, learning to lean down close and hear
The careless breathing of earth and feel its available
Languor come over you, wave after wave, sending
Small tremors of love through your brief,
Undeniable selves, into your days, and beyond.

The original orchestration is spoken word, full orchestra, and a sound mix of recordings of daily life in Houston. At the end, multiple live acoustic guitar players are invited to join in, playing from their places in the audience.

The piece can also be done by sixteen electric guitars plus pre-recorded sound. That version can be heard at September 2nd in my ongoing project, A Book of Days.

A year ago, the New York ensemble Contemporaneous performed a new version of the piece for eight players and pre-recorded sound. If you are interested in performing the piece with an ensemble of at least eight people, please get in touch with me and we’ll figure out how to make that happen.

In the meantime, you can visit the very first webpages I ever made, (with lots of help from Cory Arcangel), where I put lots of stories and examples about how I made the piece. I’ve left the pages pretty much how they appeared in 2000, so you can revel in the millennial flavor ;-).

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On the Battlefield

On the Battlefield was inspired by the memory of a visit I made to the Vicksburg National Military Park during my journey down the Mississippi River in 2009.

The November afternoon I was there, I ended up in a miserable long-distance phone argument with my then-lover in Athens. The site of one of the iconic struggles of the war between the states felt entirely personal and intimate to me that afternoon.

Six years later, I spent an afternoon at that same battlefield with my friend and collaborator Matt Petty as he filmed the footage he used to make the video for On the Battlefield.

On the Battlefield is part of my ongoing project, A Book of Days. You can watch and listen to Matt’s trombone version by visiting 23 November.

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The piece can be performed by any brass or wind player. You can play back my spoken part or mute it to perform with a live actor, male or female. Whatever you play into Ableton Live will be transformed simultaneously into clusters and also a drone. I have not composed your music: you will want to respond to the text, the visuals, and the live processing. It’s possible you will want to be thinking of “taps” as you play, but you definitely won’t want to be corny about it.

In order for the Ableton session to work properly, you probably need the full version of Live. You will also need to download and install the free plugins you can find here.

You will want to switch the monitor buttons to IN on the first two tracks, called CLUSTERS and DRONE, and make sure your playing levels do not cover the spoken voice. The video is embedded in the Live session; in order for the video to display, you need to be in Arrangement view, not Session view.

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To purchase the Ableton session needed to perform the piece, please click the button below. Normally, the price is $50, but I have made it pay-as-you-can in these pandemic times. And thank you for supporting this low-key way of publishing:

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Creating the World

I wrote this note for the premiere of Creating the World in 1996:

I had cut Milosz’s poem “Creating the World”out of The New Yorker when it was printed there several years ago, and when Paul Dresher called to ask me for a piece for his ensemble, I knew the time had come for me to take it on. Because the instrumentation of Paul’s ensemble allows for the possibility of live performance and control of A LOT of pre-recorded samples, it seemed the perfect opportunity to create a world of hedgehogs and sopranos and urban intersections and Mozart.

At first, everything was big fun: I had a great time recording the text with the wonderful actor Roger Rees; I spent weeks collecting recordings of virtually every sound mentioned in the poem (including something like forty different settings of the word “gloria”; I got obsessed with Tosca (which became the soprano sample) and saw about four different performances of it (both live and on video: NYC is a great place for creating the world(!)); studied the complete works of Joni Mitchell from the point of view of guitar tuning (which ended up not being incorporated into the piece at all)…

And then the abyss hit me.

I realized I could not knit all these wonderful samples into a piece until I had a way of making sense of the central contradiction of the poem: that all the creation in the world does not necessarily make meaning. And it really threw me.

I went back and read Milosz again, not only the poems, but also The Captive Mind, his analysis of the totalitarian mind-set, and  A Year of the Hunter, his journal from 1987 (around the time he wrote “Creating the World”), and things got even worse: all the horrors of the twentieth century came crashing down on me. The abyss of meaninglessness became the abyss of actual evil. The image of the Soviet soldiers standing outside the city watching the Germans destroy Warsaw for them became real for me, became my history.

Gradually I went back to the poem itself, to its feeble invocation of feasts of love as protection against the abyss, and I remembered a lullaby that my Bangladeshi friend Babu (M. Faslur Rahman) had sung for me this summer, a very private form of love feast. And I started thinking about the Dionysian feasts of love that pervade every human culture, and I figured that the brittle present-directed pleasure of house music is the current American embodiment of that protection. And so you will hear these feasts of love, and I hope they will protect you as they protect me.

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Creating the World is part of my ongoing project A Book of Days. You can hear the Paul Dresher Ensemble’s recording by visiting December 31st.

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For the original version of Creating the World the drummer played the spoken word samples on drum set, and lots of other samples were performed on both MIDI keyboard and MIDI mallet controllers. I am happy to make versions for whatever controllers you have available, and some things can certainly be sequenced for practicality. The main live instruments you need are violin, bassoon (or bass clarinet), guitar, and probably two keyboards, although one might work.

Here is a score of the piece, and when you click the purchase button below, I will work with you to make a cool live version of the piece for your band! It’s more expensive than my other pieces, because I have to rejigger the samples and all that. If you think of it as a consulting fee rather than as a publishing fee, I hope it will feel reasonable. If you really want to play the piece, and you don’t have the money, get in touch and we’ll work something out.

 

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