The Weight of Change (2023)
Brett William Dietz premieres my solo game piece, The Weight of Change, for drum and coins. Based on Brett’s previous homes’ street numbers, the performer rips out a serious of rhythmic phrases before the coin falls.
Original Compositions / Audio Remixes
Brett William Dietz premieres my solo game piece, The Weight of Change, for drum and coins. Based on Brett’s previous homes’ street numbers, the performer rips out a serious of rhythmic phrases before the coin falls.
For inverted snare drum, crotales, tuning forks, and audio looper, In Modifier Keys explores the extended sound world of a snare drum as a noise resonator with a 6-channel output. Commissioned as part of his Amplified Perception project, Al Cerulo performs this with piece with a ceremonial intensity.
Echo Artifact’s third concept album on the art of becoming.
Al Cerulo, Greg Chudzik, Jude Traxler
for solo piano
Neither / Either is stripped from my quintet, Math Metal Meth Mouth, verbatim.
Written for my good friend, Anne Rainwater.
quintet for four percussion and piano
Based on the breaking down of chemical compounds in the collective and individual.
Written for Dead Resonance and Anne Rainwater
Echo Artifact’s sophomore stint on the tension of wanting.
Greg Chudzik, Al Cerulo, Jude Traxler
Andy Meyerson “performs” my work, Structural Harm. Created at Traxler Studios (NYC), August 2015 for Slashsound Records.
CPU (a post-apocalyptic electronic opera for the end of the world, in one act.)
An original story told in fourteen songs.
written for the Mantra Youth Percussion group’s inaugural season. Directed by Joe Bergen.
CPU (A post-apocalyptic electronic opera for the end of the world, in one act.)
Prologue:
‘Imagine the prison of repetition
A pitch-perfect perpetual misery
Awaiting each player ignition
Is a blanket of unusable memory’
for violin and piano.
Written for Two Blind Mice (Anne Rainwater & Rick Shinozaki).
A six-piece suite (in progress) for solo keyboard and 6-channel playback where the end of one piece begins the next. All tunes are based on transcriptions of some of the most influential songs in my life from the pop idiom.
for solo glockenspiel and 6-channel delay.
Glock and computer outputting directional delay lines through speakers placed around the audience. Based on music by Rage Against the Machine. Written for Brett William Dietz.
My solo, Revolver, reversed, then fed through the machine backwards one section at a time is Revlover [REMIX]. Think ‘Memento’ for your ears.
for any keyboard instrument and six audio playback devices.
For soloist speaking and performing with offstage piano and six-channel audio playback devices surrounding the audience. Based on music and text by Jeffrey Moreira & Poison the Well. Written for Daniel Heagney & Anne Rainwater.
for muted glockenspiel and soprano saxophone.
If you repeat something long enough, no matter how absurd or nonsensical, people will eventually believe it. Written for Brett William Dietz & Griffin Campbell.
If you hear something repeated long enough, you’ll eventually start to believe it – no matter how absurd.
The construction vehicles in Harlem emit this wild, bending pitch – especially in the wee hours of the morning. This was my rebuttal.
Excerpt from ‘Litany for the Whale’, a play by Matt Wilson
With the Sister Sylvester Theater Company
Kathryn Hamilton, Director
As part of Mantra Percussion’s Holiday album, “Mantratron Saves Christmas”, I rewrote my mom’s favorite holiday jingle with broken microphone cables and pennies taped to glockenspiel bars.