solo music

for Tillman Anthony (2006) - for solo percussionist

in her garden (1999) -for solo piano, two page score
    Written for Stella Hubbard in memory of her life and art.

Put Some Butter On It (for Malachi Favors Maghoustus) (2004) -for solo bass, two page score

some journeys take a lifetime (2001) - one page score for any instrumentation
    Although this piece was composed for any instrumentation, it seems to be performed most often as a solo piece.

duo music

for Pierre Favre (2002) -two page score for two drum sets

Fourth Generation (2002) -one page score for two percussionists or any two instruments
   In Fourth Generation, the two performers read down the page thru twelve "sections", and the tension and release of the piece comes from how the performers navigate the parameters of the notation. Structurally it incorporated loose timbral orchestrations with brief notated sections, creating an over all sense of rapid change and fast paced movement. Fourth Generation was inspired by the percussion music of Gregg Bendian and Harris Eisenstadt. In the past several years this piece has been performed by any two instrumentalists.

Slack Theory II (2005) - one page score, for any two like instruments

Slowly going buhlert (2002) - one page score for any two instruments

This Is The Retirement Home (2005) - one page score for any two instruments, rhythmic notation

World coming up (2001) - two page score for any instrumentation
    Although this piece was composed for any instrumentation, it seems to be most often performed as a duo, generally within the context of (several) other pieces.

Medium Ensembles

Box Canyon Overview (2006) - for ten percussion and piccolo/flute - ten page score, seperate parts

departing landscapes (holding on desperately to memories i'll never keep) (2001) - one page score, transposed parts for any instrumentation

finding your inner greg (for Mark Dresser) (2007) - one page score for any three instruments

following the moon (2005) three page score, everyone reads from score (high voice/piano, vibraphone/berimbau, acoustic bass, drumkit)

in her garden II (1998) three page score, everyone reads from score (soprano saxophone, bass clarinet, vibraphone, acoustic bass)

in the year of the lion (for Wadada Leo Smith) (2001) two page score, everyone reads from score (flute, bass clarinet, bass,vibraphone/marimba, percussion)

kaleidoscope moon I (1998-2001) five page score, everyone reads from score (soprano/alto/baritone saxophone, tenor/baritone saxophone/bass clarinet, bass, percussion-vibraphone/marimba/chimes)
    This piece was conceived for four quartets - #1-soprano saxophone, vibraphone, bass clarinet, bass, #2-two tenor saxophone, marimba, bass, #3-alto saxophone, baritone saxophone, chimes, marimba, bass, #4-any four instruments. The beginning of my work for multiple ensembles, this piece was realized by the quartet Return To One overdubbing each quartet for the recording firecliffs.

kaleidoscope moon II (1999-2001) four page score, transposed parts (soprano and two tenor saxophones, high voice, bass, percussion -two glockenspiels, two vibraphones, xylophone, chimes, almglocken and gong)

(Keep Your) Eyes On The Snake (2003-2004) -for two trumpets, horn, tenor trombone, bass trombone, tuba and two drumkits -five page score, separate parts for upper brass, lower brass and percussion.
    (Keep Your) Eyes On The Snake offers many different possibilities for the ensemble - the group splits into two groups playing measured polytempos, a trumpet/drumkit duet morphes into a constantly shifting improvisation for the six brass, the percussion have a notated unison solo with notated brass backgrounds, and finally, the entire groups plays an intertwining polymetric groove which slowly expands and evolves to the end. Through-out, the piece asks the performers to interact, listen and react as a group to the everchanging landscape of the form.

Litany Of Disclaimers (2006) - one page score for any instrumentation, modular notation

livingston (1999) - one page score, for any instrumentation, melodic contour piece

Loop (2002) - one page score for any instrumentation

making my way thru it (2002) six page score, transposed parts (flute/alto saxophone, tenor saxophone/bass clarinet, bass, vibraphone)
    MMWTI was originally conceived for the quartet Return To One, and that group played the piece thru-out 2002 and 2003. However, the complete piece wasn't heard until i began performing it with the Skeleton Key Orchestra. MMWTI is (basically) a four voice fugue with each voice doubled. The piece slowly dissolves, using repetition structure and (at the end of the piece) open improvisation. This piece is structurally linked to the piece waiting in vain and in performance the two pieces are often put together to form a complete whole.

Miss You Peter (2003) -for two flugelhorns, horn, tenor trombone, bass trombone, tuba and two drumkits -three page score, everyone reads from score.
    for Peter Kowald

Nevermore (2005) - one page score, for vibraphone/bass/percussion

Next Love (all things want to fly) (2002-2003) 5 page score (two violins, two guitars, two celli, two basses, two drumkit/percussion), everyone reads from score.

No Rain/No Water (for Fela Kuti) (2003-2004) -for two trumpets, horn, tenor trombone, bass trombone, tuba and two drumkits -six page score, separate parts for upper brass, lower brass and percussion.
    No Rain/No Water was inspired by West African brass band music and the possibilities of using two drumsets to cover the many parts of a larger percussion section. This pieces is thru-composed, using three main motives (the opening hymn, the modal melody middle section and the highly chromatic ending melody). These motives appear and reappear thru-out the piece, giving an overall shape to the extended form.

One Rabbit Down (2006) - one page score, for any instrumentation, melodic contour piece

Painting On Glass (for Oscar Fischinger) (2001-2002) -for two octets and tape (Octet #1-two pianos, two woodwinds (1.flute, clarinet; 2.clarinet, bass clarinet), guitar, bass, two percussion (1. vibes, 3 metal bowls; 2. marimba, chimes, large bass drum, guiro) Octet #2-trumpet, horn, trombone, bass trombone, four electronics), twenty page score, first octet reads from score, separate parts for second octet, score for tape realization, tape realized 2002
    Oscar Fischinger's work came to my attention from visual artist and friend Jennifer Hopkins, who played me a few of his films late one night in the dead of a Valencia winter. I was completely enthralled and started working out a few ideas based on Fischingers work method and output, as well as being inspired by several of John Zorn and Wadada Leo Smiths chamber ensemble compositions. This piece went through a few different orchestration ideas before settling on the double octet and tape concept. Section I uses only the first octet and Section III uses only the second octet with the tape overlapping both sections and bridging sections I and III. Section I uses the opening chords for generating material for the thirteen dependent sections, with deconstructed fragments of the Section III material showing up at various points. In addition to the notated sections (1, 2, 3, 5, 6, 8, 10, 12 and 13), there are also sections for open improvisation, as follows - 4. open percussion with section 5 used as an exit, 7. open guitar/bass with notated percussion repetition cells, 9. open piano duo, 11. Open wind duo with shape notation backgrounds on cue by conductor. The use of repetition structures and overlapping textures gives clues back to Fischingers work, and the continuing strengthening of the opening chords (sections 1, 6 and 13) leads on to the tape section. Section II for tape was originally conceptualized for Gamelan ensemble, but proved to difficult to allow for performance. So, the score is given in traditional Gamelan notation to be realized in different ways. My original realization uses pitch-shifted metals (glockenspiel, coffee cans, brake drums and spoxe) to form the pitch matrices in the score, as well as adding overlapping meters and tempos hinted at by the score. Section III states the material hinted at and deconstructed in Section I. The material is then slowly separated and placed in new orders, deconstructing to section E, an open improvisation for octet II. Through out Section III, the four electronics supply a constantly shifting background by preparing samples/recordings of the textural specifications of the score. The coda restates the material in a new harmonic context and provides the ending.

Slack Theory I (2005) - one page score, for any three instrumentation

Slack Theory III (2005) - one page score, for any three instrument

Sleep/Dream/Silence (2004) -for medium ensemble and two poets - two violins, cello, two basses, two guitars, harp, two vibraphones, marimba, bass pan

secrets (for stella) (2000) two page score, transposed parts (soprano saxophone, tenor saxophone/bass clarinet, bass, drumkit, high voice)

Sundials I (2002) -for piano, bass, and drumset -five page score, everyone reads from score

Sundials II (2002) -for piano, violin, cello, bass, 2 flutes, bass clarinet and bassoon -two page score, everyone reads from score
    Sundials II was conceived as both a coda for the piece Sundials and as a separate musical being. The piece is structured as an abstracted piano concerto in miniature. The string and woodwinds sections have four modular backgrounds each, to be cued by handsigns from the respective section leader in any order and as many times as necessary.

There Is Beauty Waiting There For You (for joni mitchell) (2001) two page score, everyone reads from score (voice/piano, vibraphone, bass, drumkit)

Wisdom of not knowing I (2002) -for soprano sax, bass clarinet, vibraphone and bass -eight page score, transposed parts
    Wisdom... was composed for a quartet of flute, bassoon, bass and vibraphone, and was later changed to soprano saxophone, bass clarinet, bass and vibraphone for the quartet Return To One. Structurally the piece has three main notated sections with improvisation sections between. The opening 43 bar statement (section A) sets the harmonic framework for the piece and opens to an improvisation (section B) with pitch and rhythmic cells to be use at the discretion of the performers. Section C recasts some of the material used in Sections A and B at a faster tempo, segueing into section D, an abstraction of C that takes the melodic fragments and puts them into modular cells to be played in any order by the performer. This allows a pitch and phrase "jigsaw matrix". Section E gives the bass and vibraphone an exit vamp for the woodwinds players to improvise over, and E1 is a brief 18 bar melodic phrase for the woodwinds that fits over the vamp. The opening pitch scheme is briefly rephrased in four part harmony as a closing coda.

Saxophone Music

Spectrum (2001) - two page score for three soprano saxophones
    This piece was inspired by several techniques that the Spectrum Quartet were working on at this point, most notably circular breathing and microtones. I was very inspired by the constant give and take of ideas and growth from the quartet as well as our other playing situations (Return To One, Skeleton Key Orchestra), and this music is really a documentation of that work. At the date of this composition, the lineup of the quartet was in flux with only three active members, so the piece was written for three soprano saxophones.

a secret no one knows I (2002) -two page score for alto saxophone, two tenors saxophones, baritone saxophone
    Written for the quartet of Lee Elderton, Jason Robinson, Ward Baxter and Jay Easton. This piece was written at a time when I was consciously writing more music for different ensembles (outside of my continuing work for quartet). The piece uses different notations and concepts to allow for an evolving piece of structure and dialog, as well as solo and group improvisation. Each notated section allows for a group approach, with different players leading and/or following through shape notation, repetition structures, pitch fragments and changing harmonic situations. Each solo section was written for the improviser in mind, showcasing different sides of each story. This piece was debuted at Trummerflora's first Spring Reverb festival on April 12th, 2002. Much of the notated material presented here was later rearranged for the composition a secret no one knows II, written for the quartet Cosmologic.

Percussion Music

Below The Orange Curtain (2005) - six page score for percussion quartet
    A box notation score based on the flow of the cinemural Southern California.

Box Canyon Overview (2006) - for ten percussion and piccolo/flute - ten page score, seperate parts

Constant Flow (2005) -for four percussionists and dancer

crossing over - the last step in any journey (for jessica) (2002-present) -for percussion ensemble (2 glockenspiels, 2 vibraphones, 2 xylophones, 2 marimbas (A), and piano), eight page score, parts
    crossing over was originally conceived fall 2002 for the members of the Mt. Carmel High School percussion section. At that time i was teaching percussion part time at Mt. Carmel, and the first half of this piece was written in that time period. But they fired me, so this piece sat on the shelf for about a year until i started missing it. The title was inspired by the Oregon record Crossings as well as Joseph Campbells writings, and is dedicated to Jessica Wintje on the occasion of the birth of her son, Chris. This piece is one of a handful of compositions i've written based on traditional music. crossing over finds its rhythmic basis in the music style Wobobo from Ghana and the music style Calypso from Trinidad. The music in no way attempts to use or appropriate these styles or their cultural and social meanings, it simply finds inspiration in the beauty of the music and the ability to have several players making music that is greater than its separate parts.

for Pierre Favre (2002) -two page score for 2 drum sets

for the ghosts/while we sleep (2005) -seven pieces for percussion sextet to be used in any order or combination
    while we sleep II - one page score, six bar mixed meter vamp for five percussionists
    while we sleep III - one page score, pulse + long mixed meter vamp for any instrumentation
    its certain fall I - one page score, three textural areas for any instrumentation
    its certain fall II - one page score of text/gestures, for any instrumentation
    before darkness falls I - one page score for six percussionists, 2 kyeezees, 2 bell plates, 2 tam tams, 6 thundersheets
    before darkness falls II - one page score for six percussionists, any instrumentation of like instruments
    before darkness falls III - one page score for any instrumentation of like instruments

for Tillman Anthony (2006) - one page score for solo percussionist

Fourth Generation (2002) -one page score for two percussionists
    In Fourth Generation, the two performers read down the page thru twelve "sections", and the tension and release of the piece comes from how the performers navigate the parameters of the notation. Structurally it incorporated loose timbral orchestrations with brief notated sections, creating an over all sense of rapid change and fast paced movement. Fourth Generation was inspired by the percussion music of Gregg Bendian and Harris Eisenstadt.

Fo/ur (2003) -3 page score for bongo quartet
    Fo/ur is a continuation on several rhythmic concepts i've been pursuing over the period 2001-2005 - mostly the concepts of overlapping rhythmic patterns. In addition to this, the piece is an effort to consolidate the extended setups of we've been using in Skeleton Key Percussion Ensemble to a more simplified setup of four sets of bongoes.

Resonance (2001) -one page score for metal percussion quartet
    The piece Resonance as written during the period i was involved with the percussion trio NOD, and it involves much of that trio interest in space, graduated timbres and long ringing metals.

Rock Paper Scissors (2003) -six page score for percussion quartet
    Rock Paper Scissors is a multi-section piece for four percussionists. The general form of the piece follows the flow of timbres - metals, rock/woods, skins. Each timbre area has several sections as follows (some sections overlap) - 1. (metals) triangles, bowed cymbals, cymbals/gongs; 2. (metals) washtubs, cans, tinfoil; 3. (rock/woods) rocks, claves, woodblocks; 4. (wood/skins) 2/4s, toms, bass drums. In general, this piece finds its inspiration in Roscoe Mitchells composition The Maze.

three castles (2006) - ten page score, parts (glockenspiel, xylophone, vibraphone, marimba, acoustic bass, drumkit, percussion)

Vocal Music

all is silent (1998-1999) lead sheet, transposed parts

following the moon (2005) three page score, everyone reads from score (high voice/piano, vibraphone/berimbau, acoustic bass, drumkit)

kaleidoscope moon II (1999-2001) four page score, transposed parts (soprano and two tenor saxophones, high voice, bass, percussion -two glockenspiels, two vibraphones, xylophone, chimes, almglocken and gong)

lonesome tree (1999) lead sheet, transposed parts

secrets (for stella) (2000) two page score, transposed parts (soprano saxophone, tenor saxophone/bass clarinet, bass, drumkit, high voice)

song cycle I (2000)
    squares
    redemption
    leming
    for Hugo Wolf
    stop
three page score for soprano and piano/vibraphone

There Is Beauty Waiting There For You (for joni mitchell) (2001) two page score, everyone reads from score (voice/piano, vibraphone, bass, drumkit)