Dry Cell

drycellDry Cell (for soprano saxophone and electronics) was originally conceived as a narrative: In a future dystopic world absent of humans, only the remains of our technology survive. With energy running out, the “batteries” are left gasping for power. The piece begins in the “old west” of this future age, and as it progresses (and builds in intensity) we move into the remains of our major cities and see the remains of urban sprawl and the batteries clinging to life. The piece is loosely inspired by Alan Weisman’s The World Without Us.

Dry Cell was premiered at the Third Practice Festival, Richmond VA in 2009. performed by Michael Straus.

This piece was made possible by the What are you looking at Commissioning Fund directed by Michael Straus in conjunction with consortium members Erik Rönmark, Jan Berry Baker, Vicki Purslow, George Weremchuk, Alex Sellers, Matthew McClure, Ryan Lemoine, Grif?n Campbell and Joey Trahan.

Sample Pages:

Dry Cell (Printed Score)

    Dry Cell (Printed Score)

    Dry Cell (Printed Score)

   

Down Springer Mountain

Down Springer Mountain was a reactionary piece to a camping-trip-gone-wrong. The trip in question was on the Appalachian trail’s Springer Mountain. Duration: 8:04 Score Excerpts: This work is no longer available.

Trance

tranceTrance was written in 2006 for Brian Sacawa. For alto saxophone and live electronics (Max/MSP). It uses slow melodic material in the saxophone in order to generate harmonizations in max/msp in realtime.

Duration: 9:00

Hyperacusis

hyperacusisHyperacusis for alto saxophone and tape was commissioned in 2001 for Scott Jones. The piece is in 6 sections, alternating between abrasive/loud textures and ambient/soft gestures. The title refers to a never ending neurological disorder in which every sound (from a passing car to your own feet walking on carpet) is amplified to an intense level.

duration: 7:21

Sample Pages:

Hyperacusis (Printed Score)



Hyperacusis (Printed Score)



Hyperacusis (Printed Score)



(Click the image for a larger view)

To The Deepest Depths I Peered

To The Deepest Depths I Peered for saxophone quintet consists (alto, alto, tenor, tenor, baritone) of 25 short movements, played attaca by the ensemble, resulting in one large, unbroken, piece. Each short movement is emblematic of one of the 25 rune stones. Rune stones are stones with an ancient Scandinavian alphabet carved or painted on them.

Duration: 18:00

Score Excerpts:

Deepest Depths, Page 1 (Score)

Deepest Depths, Page 1 (Score)

Deepest Depths, Page 2 (Score)

Deepest Depths, Page 2 (Score)

Deepest Depths, Page 4 (Score)

Deepest Depths, Page 4 (Score)

Perpetual No. 2

perpetual2Perpetual No.2 was commissioned by Andrew Martin and Christine Taylor. The notion of perpetuality in music, that is to say, music that has a constant pulse that never (or only very briefly) deviates is one that is found in the music from the concert hall to the dance hall. In this series of pieces the composers aims to exploit this dichotomy by inviting a concert hall audience to let their heads sway forward and backward.

Although very short, this work requires a fair amount of endurance due to the never-stopping nature of it. The performers should avoid at all costs letting the 16th note pulse slow down. Even to the sacrifice of pitches and rhythms, the pulse is the most essential element of the piece.

Example Pages:

Perpetual No. 2 Perpetual No. 2 (Click on the image for a bigger version)