Do Not Be Concerned

Do Not Be Concerned is the first piece I wrote specifically for my ongoing project A Book of Days. At the time, I was imagining writing a piece for every preset in the General MIDI spec: this piece uses the Calliope Lead (patch #83) to accompany a recitation of a line from the Gospel of Thomas.

A live performance of the piece on synth requires a MIDI echo effect: I have a version implemented already in MOTU’s Digital Performer. If you need it in some other program, I can give you the specifications for the effect so you can set it up yourself.

You can perform the piece as a solo, reciting the text as you play, or you can do it as a duo: one person plays while the other speaks.

Do Not Be Concerned is part of my ongoing project A Book of Days. Please visit February 21st to listen to the piece along with my pre-911 slideshow of images of Soho.

And this is Nick Griffiths’ 2014 live performance on piano with no processing. It’s a very different take on the piece, and I’m delighted by it!

 

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Here is a score of the piece in pdf format.

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

Machaut a Go-go

Machaut a Go-go adapts both the music and the lyrics of Machaut’s virelais “Moult sui de bonne heure nee” to the go-go style. Go-go is a jazzy offshoot of rap that fourished in Washington, D.C. a while ago. Chuck Brown and the Soul Searchers were my main inspiration in adapting the style. Machaut a Go-go was written in 1991 for Kitty Brazelton and her nine-piece band, Dadadah. Kitty made the translation and adaptation of the Machaut lyrics, as well as helping immeasurably to shape the piece. Many thanks to her and the other members of Dadadah for their work and musicianship.

Machaut a Go-go can be performed with an introduction: a performance of the original virelais (for voice and harp or guitar) that is rudely interrupted by the drummer, who leads in the other musicians. Here is a scan of the original score to use if you want to do this introduction.

Machaut a Go-go is part of my ongoing project, A Book of Days. You can listen to a Dadadah’s recording by visiting May 7th.

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You can download a score of the piece here. You can purchase performance materials by clicking the link below.

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

Pump Music

 

Pump Music is inspired by a series of hand pumps I encountered in campsites while traveling down the Mississippi River in 2009. I recorded this pump at a campsite called Wanagan’s Landing, which was the place we stayed after the very first day of paddling, on 1 August 2009. It’s maybe ten miles down from the headwaters of the Mississippi River, in northern Minnesota.

I was struck not only by the raucous noise of the pump, but also by the unearthly melody of the afterglow as the water recedes back into the earth when you stop pumping. The melody is not a simple overtone series as you might expect, but some curious phenomenon emerging from the length and diameter of the pipe that I don’t have enough physics to understand.

Pump Music was commissioned for the Guidonian Hand and Mary Rowell by Meet the Composer/Commissioning Music USA, and is dedicated to them with vast affection.

Pump Music is part of my ongoing project, A Book of Days. To hear the premiere performance (at Roulette on 1 June 2012), please visit August 1st.

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

After you click the donation button below, you’ll get all the necessary materials to perform the piece.

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You can also read this blog post about 1 August 2009 of The River Project.

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Play Like a Girl

I’ve posted a new piece called Play Like a Girla set of eight keyboard variations on the Bulgarian Women’s Chorus standard, Kaval Sviri. Some work well on grand piano, others on toy piano or celeste or harpsichord or other “girly” instruments, as you like. The variations can be played simultaneously or successively in any combination for a total of eight factorial versions of the piece. I am posting twelve different versions of the piece in A Book of Days, on the 13th of each month. You can listen to those to get a sense of the possibilities.

Play like the girl you are (or sometimes wish you were!)

new trombone piece posted

here’s a score of a piece for solo trombone, written for Will Lang, in honor of John Cage’s 100th birthday. you use the I Ching to come up with the notes for the piece, and you can add a super-long delay if you want to get all meditational about it. I hope you enjoy it: and let me know if you’d like to try it on a different instrument than trombone. I think it needs to stay in the breath-producing family: brass, winds, or voice could all work.

Enough Holes

Enough Holes was written for the French pianist Nicolas Horvath to perform on a concert of hommages to Philip Glass. The piece is a response to one that Glass wrote with Foday Musa Suso for a 1989 production of Jean Genet's play The Screens. My piece is inspired by an error-filled computer transcription of the original recording, further edited and transformed manually. I hope it has enough holes.

The piece is part of my ongoing project, A Book of Days. To listen to a recording, please visit May 2nd.

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THE MOTHER: Take the blanket.

LEILA (pointing to a blanket): That one?

THE MOTHER: No, not that one. It hasn't enough holes.

THE GENDARME (to THE MOTHER): Giving her the one with the most holes?

THE MOTHER: What interests her is the holes. The more there are, the better she likes it.

Genet: The Screens (1961)

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Here is a score of the piece in pdf format.

If you perform the piece on public concerts for which you are paid, it'd be great if you would purchase a copy of the piece. Click the button below: