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.


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:

  • CUE 1 is the beginning of the piece.
  • CUE 2 is “Come in the pen” which should be triggered in bar 9.
  • CUE 3 is “Come in the stem: which should be triggered at bar 26.
  • CUE 4 is  “Come in the grass grown water” which should be triggered at bar 52.
  • CUE 5 begins “Lily wet lily wet while” and should be triggered in bar 58.

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!


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 Alison Bjorkedal’s third pass on the harp. You can go here to hear David Steele’s second pass on the clarinet, and here to hear Timothy Rosenberg’s second 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. And thank you for supporting this low-key way of publishing.

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!

Wolf Chaser

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

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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:

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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 getting you the wolf chaser.


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.



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.

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Here is a solo live performance by Mary Rowell:

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 by visiting April 19  in my ongoing project A Book of Days.

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Here is a score of the piece in pdf format.

After you click the donation 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.


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.