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 innocence 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!

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, 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 ensemble version by visiting March 17th.

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Here are scores for the two different versions of Machaut in the Machine Age I.

original duo version (pdf)

chamber ensemble version (pdf)

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 two versions above, so talk to me if you have specific needs for your ensemble.

Thanks for supporting this low-key way of publishing!

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!)

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:

Cave: for spoken voice, mixed ensemble and playback

Cave was commissioned by the St. Louis ensemble Synchronia for a program investigating the theme of America in Y2K. The text is by Eileen Myles. It is the third piece in the last year I have been asked to write on this subject*, and I’m noticing that I know less about the meaning of the millennium, or the future in general, the more I’m asked to write pieces about it. I have, however, had several excellent conversations about souls with Ansel Elgort, who is six, while I’ve been writing this piece, so I dedicate it to him with love and thanks for his friendship.

* see the continuous life for another
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Cave is part of my ongoing project A Book of Days. Please visit July 3rd to hear a recording.

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The piece was originally made for flute, clarinet, violin, cello, keyboard (or piano and vibes), spoken voice, and electronics. There is also an optional video by Clifton Taylor.

Here is a score of the piece, and here’s a set of parts. I’m open to you adapting it for your ensemble; let me know what you have in mind. If you wish to use the original DX7 patch, download this zip file of the patch in various formats that may be useful for re-creating the patch.

I will send you the pre-recorded track when you order the piece by clicking the paypal button below.