Works

"There are two basic principles of musical structure I rely on. The first is expressed by the force of attraction, (gravity, love, concentration, creation), and the second lies in the idea of repetition, (materialization, duration). My mindfulness of this constitutes the only score. I find I must wait before the beginning of each performance until I am surprised by the first sound I make and the fact that it is made. Then, I feel ready to proceed."

[SCORE AVAILABLE FOR DOWNLOAD] Slow and sultry piano solo piano with improvisational components, may also be arranged or orchestrated, refers to the poem, Secretum, by Martine Bellen, which in turn refers to Secretum by Francesco Petrarca.

Solo violin and bank of resonators realized with computer software and linked through various harmonic constructions that can be controlled in real-time to extract ringing chords with elision, melisma and ornamentation driven by the pitch and amplitude content of the violin sound.

For eight singers and interactive computer music system, created for the dance by choreographer, Tina Yuan; singers use wireless microphones and move on stage with dancers; three movements derived from the earlier composition, Attunement, performed as movement one; movements two and three successively deconstruct the text and vocal sounds of Attunement in various ways to activate signal processing software and create musical textures for the remaining parts of the work.

[SCORE AVAILABLE FOR DOWNLOAD] A major solo work for piano in four movements plus a theme, using a technique of scoring with configuration spaces and virtuosic material that can be organized in various ways. Thus, many versions of Twilight Language may be realized. The work was written originally for contemporary pianist Vicki Ray who has also recorded her version on the CD, Life Field, from Tzadik.

Re–workings of the 1974–75 viola da gamba score, titled The Seduction of Sapientia, to produce versions for several other stringed instruments, including solo violin, solo viola, solo cello, and violin duet, in process.

[SCORE AVAILABLE FOR DOWNLOAD] For solo or multiple trumpets, a score in four large, circular panels comprising musical configuration spaces, each with musical materials that may be ordered in a variety of ways to create the individual time-space realizations of particular performances, includes extended techniques, proportional tuning and time structures, and characteristic, virtuosic trumpet materials; the four parts employ Bb trumpet, Bb cornet, trumpet, or flugelhorn, Bb piccolo trumpet, and C trumpet respectively; written originally for trumpet virtuoso, Daniel Rosenboom.

Scores arranged for four different instrumentations with instruments specified by range: 1) two high and two low instruments, 2) two high instruments, 3) two pianos or other keyboards covering the piano range and 4) four trumpets; score may also be played by multiples of four instruments—for example, twelve trumpets—with parts doubled or distributed and arranged in space; parts are played in loose synchrony with electronic tracks provided on a CD; solo improvisations may be inserted at various points in the score.

[SCORE AVAILABLE FOR DOWNLOAD] Duet for two instruments capable of making continuous glides in pitch; one–page score includes instructions and graphic notation.

[SCORE AVAILABLE FOR DOWNLOAD] Naked Curvature (Four Memories of the Daimon) (2001) is a whispered chamber opera and symbolic concerto grosso referring to particular mystical writings of William Butler Yeats and others for instrumental sextet (flute/piccolo, clarinet/bass clarinet, violin, cello, piano/Midi keyboard, and percussion/Midi mallet instrument), whispering voices, electronics and interactive computer software; score has modular sections which may be used to construct various performances.

[SCORE AVAILABLE FOR DOWNLOAD] Song form for multiple voices (minimum 6) and freely realized harmonies with original text.

[SCORE AVAILABLE FOR DOWNLOAD AND LINKS TO SEVERAL VIDEOS PROVIDED] For piano soloist; movements entitled, I. Fanfare for the Sun, II. In Contemplation of Transformation, III. The Right Measure of Opposites, IV. Phaeton Reaches for the Speed of Light, V. Daphne Nods in Consent, VI. Argus’s Eyes See the Code of Small and Large, VII. Callisto and Arcas in the Stars, VIII. The Cost of the Gift of Prophecy–Ocyrhoe’s Forfeiture, IX. Raven’s Wings Telling Tales, X. Hymn of Change, XI. Transformation Canon–For Pythagoras, and XII. Coda–The Past is Determined by the Impermanence of Perfect Memory.

[SCORE AVAILABLE FOR DOWNLOAD—PARTS COMING SOON] For full orchestra; always transforming and evolving musical shapes are arranged to create a rich counterpoint language; sixteen themes and their mutations appear in six movements set against the background of an anchor theme like rocks in a Zen garden; movements entitled, I. Melody–A Luminous Calm (Prologue), II. Idea–Seeing Mountains Through Spiders’ Webs, III. Nature–Growing Sounds, IV. Mood–When the Ground Screams, V. Spirit–Dragon Veins, and VI. Melody–As if in Clouds (Epilogue).

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