Beat Species Counterpoint for drums and live signal processing was premiered in 2002 with Kurt Snyder on drums. The drum microphones are sent through a custom interface written in Max/MSP. The interface allowed for the second performer, on laptop, to “scratch” the live drums on a Wacom drawing tablet. In addition to the performance at the Peabody Conservatory of Music, it was presented in technical detail at the University of Minnesota “Emerging Digerati” seminar in 2002.

Duration: 7:30

Pictures from Premiere:

Beat Species Counterpoint, Picture 1

Beat Species Counterpoint, picture 2

Beat Species Counterpoint, picture 3

Trance 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

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e, for solo cello, was written for Doug Bowman in 2000. The work is an algorithmic piece, with pitches being derived from variations on e.

Duration: 10:00

Score Excerpts:

e, Page 1 (Score)

e, Page 2 (Score)

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Hyperacusis 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 intolerable level.
duration: 7:21

Listen to the complete piece:

Sample Pages:









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This work qualifies for the Performance Incentive Program.

Printed Score

PHX-T2-G11 for solo bass was written in 2002 for Jeremy Bagous. The title simply refers to the place the piece was written: The Phoenix, AZ. airport, Terminal 2, Gate 11 - where the composer spent 38+ hours (after a SEAMUS conference, missing his flight. Thanks Lou.)
The piece was revised in 2005.

duration: 8:00

This work has limited availability. Please contact sales@janthonyallen.com for more information.

Firewire is an interactive work for firedancer and live signal processing. The firedancer (poi dancer) wears wireless microphones on the shoulders. These microphones pick up the sound of the spinning fire, amplify it, and send it into the computer for processing. The piece is an improvisation for the dancer, as well as the computer performer. A paper documenting the performance was published in the Organised Sound Journal (Cambridge University Press). The original performer was Cori Lee Stalacker.

Duration: c. 7:00

Max/MSP patch:

Pictures from Performances:

Firewire Premiere Performance

Firewire Premiere Performance

Firewire Premiere Performance

Piano Sonata was written in 2002. It is in three movements: Insistent, Reticent, and Exigent.

Listen to an excerpt of Movement 1:

The piece opens with a fast movement, with a single chord being the driving force. The second movement is an expansion of this chord, while exploring subtleties of the piano sostenuto pedal. The third, Exigent, is a fast movement calling back themes from the first movement.

This version of the score includes an extensive appendix of suggested fingerings by Anatoly Larkin.

Sample Pages:

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This work qualifies for the Performance Incentive Program.

Printed Score

Downloadable Score

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Requiem for SSAATTBB chorus and electronics was written in 2001. The premiere performance was conducted by Scott Jones, for which it won the 2001 Prix d’Ete Composition Prize.

duration: 9:21

Score Excerpts:

Requiem, Page 1 (Score)

Requiem, Page 5 (Score)

This work is no longer available.

I Meant You Have Blue Eyes is a short, fun percussion piece for 2 narrators. Bordering on a theater piece, the text is sometimes funny, sometimes sad, but always rhythmic. A great concert opener for percussion, voice, or any mixed ensemble. Although it is technically a voice piece, it can be performed by either gender or combinations of men and women.

The work consists of four movements: Slow, Fast, Moderate/Fast, and Slow.

All text by Michael Walter, used by permission.
duration: 5:20

Listen to the complete second movement:

Example pages:

Mix Tapes is a percussion work for 3 narrators. It is the second part of the “Some Antics Trilogy” with poet Michael Walter. The work consists of three movements:

I. Whisper: Three poems are split between the three narrators
II. Poem 1/Poem 2: 2 poems read simultaneously, split between the three narrators
III. Grand Rapids Sutra: One poem split between the three narrators. The text for this movement has been published in other contexts.

All text by Michael Walter, used by permission.

Duration: 6:00

This work has limited availability. Please contact sales@janthonyallen.com for more information.