Actuate/Resonate (2018)
large ensemble with electronics
Lines on Black (2018)
for voice, flute, violin, saxophone, piano, percussion, and electronics
binary/momentary iii (2018)
cello and electronics
for Delia Derbyshire (2018)
bass, guitar, and electronics
Matrix for George Lewis (2017)
2 electronic silent brass trombones
Seven Systems (2015)
2 piano, 2 percussion quartet with electronic playback and actuated snares
binary/momentary logics: flow state/joy state (2016)
String quartet
binary/momentary ii: flow state/joy state (2017)
Trumpet, 2 trombones, piano, and percussion
delay/line (2016)
Flute and delay line
Points Against Fields (2015)
Bassoon and playback
Broken Symmetries (2012)
Violin soloist, feedback electronics, flute, tenor saxophone, piano, and percussion
Chain Reactions/Five Events (2013)
String quartet and live electronics
Machine Language (2012)
Percussion soloist, 2 percussion, 2 violins, 2 bass clarinets, accordion, and fixed sine tones
MODULES (2014)
Brass quartet, percussion, analog synthesizer, and live electronics
hydra (2015)
Violin, piano, fixed media, and live electronics
Four Sixes (2014)
Percussion Sextet
Sixty Cycles (2013)
Sopranino saxophone soloist, feedback televisions, violin, and cello
Portraits/Self Portraits (2011)
Violin soloist with large ensemble
ATD V (2010)
Saxophone and electronics soloists with small ensemble
Tile Mosaic (after Chagall) (2010)
Two pianos, two percussion, and resonant pails
Standing Waves (2009)
Medium sized ensemble and electronics
Matrices (2009)
Percussion trio and electronics
7:6 (2006, rev. 2010)
Distorted, amplified cello
Lyra (2007 rev. 2010)
Amplified string quartet
Signal Flow (2009)
Percussion quartet and electronics
SWITCHES (2007)
Distorted, amplified cello and drumset
American Tokyo Daydream IV (data structures/monoliths) (2007)
Saxophones, electric guitar, and accordion
A Circle of 8 in a Prime of Primes for Sara (31), by Sam (29)
Sheng, pipa, suona, handbell choir, and live electronics
American Tokyo Daydream III (The Surprise) (2006)
Piano, string quaret, and live electronics
noise + mobile (2005)
Piano and electronic playback
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Rage Thormbones
Matrix (for George Lewis) (2017) for two muted trombones controlling electronic sounds
Matrix is my most radical piece. Scored for two trombones and electronics, the listener never hears the acoustic sound of the trombones during a performance. Instead, using audio recorded by silent-brass mutes attached to each instrument, I use music information retrieval techniques to transform the two trombones into audio-based controllers. Data retrieved from live sonic analysis is used to control digital synthesizers, which are played through speakers.
There is no notation beyond descriptions of each section of the music, yet performers are able to execute the work exactly as I desire without my verbal input. Why? Matrix fits in a tradition of works spearheaded by electronic music pioneer David Tudor, where a work, rather than consisting of notes on a page, which guide the performer to execute the correct sounds at the correct time, consists of a system of circuitry which constrains the performer to create sounds within a bandwidth of possibility. Each section of the piece provides a different system of algorithms for the players to interact with. By only reacting to specific inputs, the software limits the kinds of playing that are possible in any one section. Through practice and study, the players learn how to interact with the software and thus how to play the work.
I have provided the score and software code below.
link to full score and code
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