Mountain Piques was written for the Pique Collective, a Baltimore-based new music ensemble. Split into four movements, this work uses electronics to create four nature-inspired scenes. It was performed in October 2018 at the Black Cherry Puppet Theatre, who created and choreographed visuals to accompany the piece.
This piece uses SuperCollider to produce the electronic part. A member of the quartet operates a laptop which activates prerecorded audio samples. They use their laptop keyboard trackpad to change the pitch and volume of the samples. This allowing them to, like an acoustic instrument, interact with ensemble and interpret it a little differently for each performance. Graphic notation describes how the electronic musician should perform on the laptop.
Two melodies played in counterpoint by a performer moving a computer cursor in different directions
The ensemble writing is intricate and tightly woven, and takes a neoclassical approach to form. I tried to give equal importance to rhythm, melody, sound, harmony, and gesture. Though many parts sound tonal, the work was too chromatic for me to set to a specific key. Much of the piece’s complexity is derived from heavy ornamentation. The most rhythmic movement, Bursting at the Brim, features a twelve-tone polyrhythm juxtaposed with a tonal theme played by the guitar.
The piece’s entirety can be listened to here:
Alarm, for flute and live electronics, puts demands on both the flute and electro-acoustic performer, who uses a MIDI pad to perform notated rhythmic phrases in addition to standard processing. The flute part alternates between high pitched, sparse pointillism leading to climactic long notes in the lower register. I also explore the dynamics between a cappella flute sections, and purely electroacoustic sections. The processing includes looping, granulation and doppler shift.
“Urban Sunrise” is a humid, sultry aubade, much of whose audio material is generated from the sounds of nature. Distorted sounds of birds attempt to bring an eerie feel, an undulating tempo, and the basis of the saxophone’s melodic material. The saxophone ruminates throughout the piece, until the electronic element roots itself in a deep, harmonically driven climax, ending with the a choir of orioles singing at different rates using a supercollider patch. It was inspired by the sight of the sun rising over Druid Hill Park in Baltimore one hot summer.
Enkidu, for baritone saxophone and live electronics, was written for Tae Ho Hwang, and premiered at the Electroacoustic Barndance in February, 2018. My goal was to create a longer solo electroacoustic piece whose development is driven by motivic material. The design of the electronics of this movement resembles a telescope, beginning with little except a bit of reverb, but incrementally expanding the palate to include delay, looping, pitch shift, and the flanger.
Enkidu is the companion of King Gilgamesh of Uruk in the ancient, four thousand year old Epic of Gilgamesh. Enkidu and Gilgamesh become friends, and could be seen as two archetypes of humanity. Gilgamesh represents the city, civilization, and humanity’s advancement; Enkidu represents the primative, nature, and human’s origin.
The third movement of the piece mirrors the emotions explored in the second half of the epic, where Gilgamesh struggles to come to grip with his own mortality after Enkidu’s death. The movement evokes scenes of him crossing the Waters of Death to visit Utnapishtim, the Babylonian Noah. The piece ends with the return of the Enkidu theme, a breath of fresh air after the music’s intensity, symbolizing Gilgamesh’s coming to terms with his life’s purpose.
for clarinet and live electronics
“Darl” is named after the character from William Faulkner’s “As I Lay Dying.” A well spoken, soul searching character, Darl’s frustration over the way his family copes with his deceased mother leads him on a downward spiral, culminating with his confinement in a state mental institution. The piece features high pitched, jarring, accented sections indicative of his turmoil, coupled with a transcendental ending built off an electronic looping structure that spectrally shimmers with the aid of several flangers. In addition, the patch uses pitch shifting, noise, delay and ring modulation; the clarinet writing features microtones and trills that utilize alternate fingering.
for bassoon quartet (three bassoons, one contrabassoon)
Escape was written in December 2015 and January 2016. It was the 2016 recipient of the Dark in the Song Prize, was performed by the Dark in the Song bassoon collective in July of 2016. Publication of the work by TrevCo-Varner is expected in the near future.
for trumpet and bassoon
EP is a set of three duets for trumpet and bassoon, with a final movement Daddy for bassoon alone. This piece has been performed twice; I played the trumpet, and Melissa Birkhold on the bassoon. Its second performance took place at Highlandtown Elementary School in inner city Baltimore.
for B flat clarinet and live electronics
Pluto is a thirty-five minute long chamber work for clarinet and live electronics. It has five movements:
II. Cosmic Rant
III. Planet Heart
IV. The Sun’s Quiet Heat
Work on this piece began in July, 2015, around the time of NASA’s Pluto flyby. By the end of the year, I had a performable draft. After winning third prize in Peabody’s Prix d’Eté, the final movement Gravity was programmed in the Peabody Thursday Noon Concert Series, with Melissa Lander on clarinet. The third movement, Planet Heart, was premiered in August 2016 by Michele Jacot at the Toronto International Electro-acoustic Symposium, and performed again by Chase Mitchusson at NSEME in March 2017. Clarinetist Shawn Earle also performed Gravity at the 2016 University of Virginia Technosonics Festival.
In February 2017 I teamed up with Andrew Im to perform the piece in its entirety. We did so at the Centre Street Performance Studio in Baltimore. We performed it again in at the Music City Festival in Orange, NJ, and perform it in Rutland, VT on August 13.
The piece is expansive both in length and in texture, with long undulating loops and delay that continue the clarinet’s sound like a piano’s sustain pedal. Noise and ring modulation provide contrast to the smoothness of the clarinet. The electronics allow for loud sections, harmonies, and sounds lower than the clarinet can play– all derived from a clarinet.
Below are recordings of Serenity, Planet Heart, and Gravity.
for four Bb clarinets, bass clarinet, and contrabass
In this tiny, three movement sextet, the players work to create a blended sound which, in turn produces braided, long arced phrases.