7X7 (1 to 85,766,121) is an 8-channel fixed media composition created in Max/MSP. The versions presented here are stereo mixes for the purpose of accessibility. However, the premiere performance in the Voxman Concert Hall at University of Iowa used an 8.1 surround sound setup. It was this 8 channel setup for which I composed the… Continue reading 7X7 (1 to 85,766,121)
Audio
Nothing but the Blood
Nothing but the Blood is a fixed media piece that relies heavily on the hymn of the same name both musically and symbolically. The piece unfolds in three distinct locations: an industrial and highly electronic opening, a natural interior, and a concert with narration. The music in this final location is heavily influenced by the… Continue reading Nothing but the Blood
For Béla
Contrary to what its name suggests, For Béla was not originally intended to pay homage to Bartók. The title was given after the completion of the piece in light of the increased reliance on the Axis theory of Ernő Lendvai, a musical concept used to analyze the music of Béla Bartók. Axis theory manifests itself… Continue reading For Béla
Probably Blue
Probably Blue is a fixed media work realized in Max/MSP. It is written in 7-limit just intonation and is comprised of 3 overlapping timbral layers: an FM synthesis ostinato, filtered cello drones, and delayed trumpet samples with ring modulation. Multiple parameters of the FM and trumpet sounds are governed using probabilities including spatial placement, inharmonicity… Continue reading Probably Blue
Reflection no. 1
Reflection no. 1 for solo piano was constructed with two interval sets which are also tied to two distinct characterizations. The piece includes something of loneliness and solemn reflection in the space which pervades it. It also hints at an agitation, which bursts forth in the middle of the piece before sinking back beneath the… Continue reading Reflection no. 1
Reed Quintet no. 1 ( Reading by Akropolis Reed Quintet )
Reed Quintet no. 1 was a piece composed in the Fall of 2019. It was composed in contradiction to what had been my usual process – a process in which pitched materials were generated through highly determinate ordered pitch-class sets. Each movement began as one of these “process pieces.” However, after composing each movement systematically,… Continue reading Reed Quintet no. 1 ( Reading by Akropolis Reed Quintet )
and Mary Danced on Back of the Terrapin from Ritual no. 1 (Ascension of the Primes)
This is a recording of the third movement of Ritual no. 1: Ascension of the Primes, titled and Mary Danced on back of the Terrapin. Scored for for voice and electronics this movement of the piece is set in a 7-limit just intonation tuning. The electronic sounds were created inside of Max using FM and… Continue reading and Mary Danced on Back of the Terrapin from Ritual no. 1 (Ascension of the Primes)
Jesus in the Shade of the Bodhi Tree
This piece was recorded in the Owen Hall Recording Studio in the Spring of 2019. A plethora of instrumental techniques were captured spanning all of the orchestral families. After tracking was completed, samples were chosen from the recorded materials and sequenced to form a linear composition. In the piece the recording studio becomes a vehicle… Continue reading Jesus in the Shade of the Bodhi Tree
String Quartet no. 2 – “The Void”
This piece was inspired by the 36th koan listed in Nyogen Senzaki’s collection of 100 Zen Koans, The Iron Flute. 1It reads: 36. Where to Meet After Death Tao-wu paid a visit to his sick brother monk, Yun-yen. “Where can I see you again, if you die and leave only your corpse here?” asked the… Continue reading String Quartet no. 2 – “The Void”
Silent Night
Merry Christmas! In honor of the 200th anniversary of the writing of the much beloved Christmas carol “Silent Night” I have created an arrangement of the song on the Buchla Synthesizer. To accomplish this I used Logic Pro X to record each individual part in a multi-track project. The noise at the beginning was synthesized… Continue reading Silent Night