Selected Works - Overview

Chronological, most recent at top. You can find score samples (pdf) and audio samples (mp3) for some.

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Four Duets    [Details]

    For double bass & piano, September 2016, dur 11' 30"

Exploded View    [Details]

    For wind ensemble, June 2016, dur 13'

Seven Short Pieces for Bass, Guitar, and Audio    [Details]

    For bass, guitar, & audio, January 2016, dur 11' 45"

Four Pieces for Wind Quintet    [Details]

    June 2015, dur. 19'

The Thaw at Dawn    [Details]

    For seven instruments, March 2015, dur. 4' 50"

Forced Perspective    [Details]

    For orchestra, November 2014, dur. 12' 30"

Fives & Sevens    [Details]

    For big band, September 2014, dur. 6'

Six Flights Up    [Details]

    Audio, June 2014, dur 5'

Two Short Palindromes for Ana: Aller-retour, and Flux et reflux    [Details]

    For seven instruments, November 2013, dur 40" each

We Interrupt This Breaking News    [Details]

    Trombone and Audio, March 2012, dur. 6' 20"

The On-again, Off-again Long Distance Pony     [Details]

    Trombone and Audio, December 2011, dur. 4' 10"

Internal Rhyme    [Details]

    Trombone and Audio, October 2011, dur. 4' 30"

On Paper    [Details]

    Audio, February 2011, dur. 4' 36"

Bass Relief    [Details]

    For contrabass and audio, May 2010, dur. 10' 40"

Circular Logic    [Details]

    A suite for cello and computer, November 2009, dur. 8' 40"

Toccata and Preludes    [Details]

    For viola and audio, April 2009, dur. 6' 20"

Spirit and Opportunity    [Details]

    For wind ensemble, May 2008, dur. 11' 30"

The Shock of Waking    [Details]

    For string quartet, August 2007, dur. 21' 10"

Pitch, Yaw, and Roll: Six Degrees of Freedom    [Details]

    For symphonic band, February 2006, dur. 6' 50"

Suite of Suites; Music for Woodwind Quintet, Marimba, and Piano    [Details]

    May 2005

Music for Wind Trio    [Details]

    April 2005

Soundtrack for Memory of Hope    [Details]

    Computer animation for DV (stereo) or DVD, August 2004, dur. 6' 30"

Concerto for Piano, Percussion, and Orchestra    [Details]

    October 2003

Two Pianos in Three Pieces    [Details]

    For two pianos, 2003

Confidences    [Details]

    For guitar solo, 2002, dur. 4' 30"

Soundtrack for True Nature    [Details]

    Computer animation, 2002, dur. 6' 30"

Prince of Gosplan    [Details]

    5.1 surround sound DVD or audio, 2001

Two to the Two    [Details]

    Audio, 1998, dur 4' 23"



Selected Works - Details


Four Duets For Bass & Piano

September 2016, dur. 11' 30"

Four Duets For Bass & Piano, score

Four Duets For Bass & Piano - I, mp3, 2' 40"

Four Duets For Bass & Piano - II, mp3, 4' 30"

Four Duets For Bass & Piano - III, mp3, 2' 00"

Four Duets For Bass & Piano - IV, mp3, 2' 10"


Exploded View

For wind ensemble, June 2016, dur. 13'

Exploded View, score

Exploded View - I, mp3, 3' 30"

Exploded View - II, mp3, 4' 30"

Exploded View - III, mp3, 5' 00"


Seven Short Pieces for Bass, Guitar, and Audio

January 2016, dur. 11' 45"

SevenShortPieces, score

Seven Short Pieces, mp3, 11' 45"


Four Pieces for Wind Quintet

June 2015, dur. 19"

Four Pieces for Wind Quintet, score

Four Pieces for Wind Quintet - I, mp3, 4' 20"

Four Pieces for Wind Quintet - II, mp3, 5' 40"

Four Pieces for Wind Quintet - III, mp3, 4' 50"

Four Pieces for Wind Quintet - IV, mp3, 4' 50"


The Thaw at Dawn

For seven instruments, March 2015, dur. 4" 50"

• Premiered by InnoVox Ensemble in New York City, April 2015.

The Thaw at Dawn, score

The Thaw at Dawn, mp3, 4' 50"


Forced Perspective

For orchestra, November 2014, dur. 12' 30"

Forced Perspective, score

Forced Perspective, mp3, 12' 30"


Fives & Sevens

For big band, September 2014, dur. 6'

Fives & Sevens, score

Fives & Sevens, mp3, 6'


Six Flights Up

Audio, June 2014, dur 5'

Six Flights Up, mp3, 5'


Two Short Palindromes for Ana: Aller-retour, and Flux et reflux

Audio, June 2014, dur 5'

• Premiered by Une Bouteille à la Mer in Lille, France, March 2013.

Aller-retour, score

Aller-retour, mp3, 40"

Flux et reflux, score

Flux et reflux, mp3, 40"


We Interrupt This Breaking News

Trombone and Audio, March 2012, dur. 6' 20"

• Premiered at New York City Electroacoustic Music Festival June 25, 2015.

We Interrupt This Breaking News, score

We Interrupt This Breaking News, mp3, 6' 20"


The On-again, Off-again Long Distance Pony

Trombone and Audio, December 2011, dur. 4' 10"

The On-again, Off-again Long Distance Pony, score

The On-again, Off-again Long Distance Pony, mp3, 4' 10"


Internal Rhyme

Trombone and Audio, October 2011, dur. 4' 30"

• Premiered at Georgia College in March 2012.

Internal Rhyme, score

Internal Rhyme, mp3, 4' 30"


On Paper

Audio, February 2011, dur. 4' 36"

When I taught at Georgia College, I needed some blank manuscript paper and printed a page and a half from Finale. I noticed the sound of my office ink jet printer chugging away at its highest resolution, recorded it, and wrote some music on it (the audiofile). You can hear in the musical form the pages being printed, with each stave using (in triplets) 4/4 * 3, 3/4, and a measure of 5/16–a little glitch to advance to the next stave.

• Premiered at Sound Sculptures 6, Georgia College in April 2011.



On Paper, mp3, 4' 30"


Bass Relief

For contrabass and audio, May 2010, dur. 10' 40"

Bass Relief is in four short movements. It explores a number of the roles of the contrabass; as soloist, as accompaniment, as part of the rhythm section, and the bass's special role as the lowest voice and decider of harmony. It is third in a series of works for live-action strings (violin, viola, cello, and bass) and audio featuring physical-modeling instruments in software for various string sounds in the accompaniment.

• Premiered at Sound Sculptures 6, Georgia College in April 2011.

Bass Relief, score

Bass Relief, mvt. I, mp3, 2' 20" (demo)

Bass Relief, mvt. II, mp3, 2' 40" (demo)

Bass Relief, mvt. III, mp3, 2' 20" (demo)

Bass Relief, mvt. IV, mp3, 2' 35" (demo)


Circular Logic

A suite for cello and computer, November 2009, dur. 8' 40"

Circular Logic unfolds six movements, all attacca. The cello is accompanied by a track of composed audio. The cello's miked signal excites four virtual strings of digital waveguides in a software instrument called Nukulele, built with MSP and driven in this case by a score/event list.

The title springs from the Nukulele waveguides' central loops. It seemed appropriate to include some concrète "round sounds" appropriate to the title's program to cue each movement: a tape rewinding, Shepard's tones, the circle of fifths, a revolver, a bicycle wheel, a casino wheel, a spinning coin, and a turntable.

• Premiered at the New York City Electroacoustic Music Festival June 5, 2014.

Circular Logic, score

Circular Logic, mp3, 8' 40" (demo)


Toccata and Preludes

For viola and audio, April 2009, dur. 6' 20"

Toccata & Preludes is the first in a series of works for computer and acoustic string instruments. The computer audio focuses on the compositional and sonic possibilities of physically-modeled string emulations, from the realistic to the otherwise impossible. In this work, the physically-modeled strings are conceptualized as an instrument with four strings that can resonate through each other and can be excited by a number of recorded audio files or sounds synthesized on the fly.

The title references the music of the Baroque, and fits the running scales and chords of the toccata in the computer accompaniment and the free and improvisatory character of the interludes. The toccata is broken into sections or "chapters", and the prelude and interludes unfold a larger narrative that contains that of the music of the toccata, like a story within a story.

Toccata and Preludes, score

Toccata and Preludes, mp3, 6' 20" (demo)


Spirit and Opportunity

For wind ensemble, May 2008, dur. 11' 30"

Spirit and Opportunity takes its name from the two Mars Expedition Rovers that have so famously exceeded their expected length of mission. Some programmatic elements from the Mars mission have been written into the music (imitations of the bounce landings, robotic movements, etc.), and the music aims to express the optimism of the title.

The rovers landed three weeks apart on opposite sides of Mars wrapped in inflatable airbag cocoons, bouncing and rolling to a stop, where they unwrapped themselves, extended their wheels, cameras, solar panels, and instrument arms, and rolled onto the surface. The rovers are equipped with high-definition cameras and other sensors, and various tools for digging, grinding rock, and analysis. Solar panels provide power. They rove, collect pictures and samples, and communicate with mission managers on Earth once a day, uploading their collected data and receiving all commands for their maneuvers for the next day. The rovers are robots, after all, and so take nothing personally in their arduous work in an extremely isolated, remote, and harsh environment, not even that their ultimate fate was known at the outset.

The Spirit rover has not been heard from since March, 2010. Opportunity continues to explore.

• Premiered at the 30th Regional Conference of the Southern Chapter of the College Music Society in Orlando, Florida in February 2009

• 3rd Jury Prize and Public's Prize in the Coups de Vents 4th International Composition Competition for Wind Orchestra; performed at finals in Lille, France, March 9, 2013

Spirit and Opportunity, Prelude, for two electric pianos, score

Spirit and Opportunity, Prelude mp3, 2' 20" (demo)

Spirit and Opportunity, I, score

Spirit and Opportunity, mp3, 11' 30" (demo)


The Shock of Waking

For string quartet, August 2007, dur. 21' 10"

The Shock of Waking is in four movements. I was thinking about the transitions, sometimes sudden, between states of consciousness such as sleep and dreaming and wakefulness. One finds oneself in a new state, suddenly pressed with a need for reorientation, perhaps disbelieving, and with perhaps only vague memories of the lost details that a moment ago were so engrossing.

In the opening movement, orientation comes slowly, and the music flows from and to a recurring pattern in 5/4. The second movement is very quiet and calm. Movement three is at times dance-like and unfolds through several recurring signatures. The fourth is fast and fleeting.

The Shock of Waking, I, score The Shock of Waking, I, mp3, 6' 00" (demo)

The Shock of Waking, II, score The Shock of Waking, II, mp3, 8' 00" (demo)

The Shock of Waking, III, score The Shock of Waking, II, mp3, 4' 50" (demo)

The Shock of Waking, IV, score The Shock of Waking, IV, mp3, 2' 20" (demo)


Pitch, Yaw, and Roll: Six Degrees of Freedom

For symphonic band, February 2006, dur. 6' 50"

"Pitch, yaw, and roll" are the variables specifying the orientation of an object in free space. Imagine you are on an airline flight with a cup of coffee in your hand. "Pitch" refers to whether the nose of the aircraft dips down or up, spilling your coffee on your lap or on your knees. "Yaw" is right or left change (your coffee is level but any bubbles or crumbs will rotate). "Roll" dips the airplane's wings down/up, spilling your coffee to your right or left thigh. Indeed, an object in free space can rarely perform change in one dimension at a time, so a left turn banks the airplane, spilling your coffee, dipping the wing, and turning left. Used in aviation, most notably to expain the maneuvers of the space shuttle, "pitch, yaw, and roll" are also used in game controllers and in flights beyond earth. In fact, the six degrees of freedom (SDOF) refer to the orientation of an object in free space.

• Short-listed for Coups de Vents International Composition Competition for Symphonic Band; performed at quarterfinals, in Lille, France, November 2006

Pitch, Yaw, and Roll, score

Pitch, Yaw, and Roll, mp3, 6' 50" (demo)


Suite of Suites; Music for Woodwind Quintet, Marimba, and Piano

May 2005

I. full ensemble, dur. 7' 34"
II. duet for flute & piano, dur. 2' 18"
III. duet for oboe & marimba, dur. 3' 26"
IV. duet for clarinet & marimba, dur. 2' 55"
V. duet for horn & piano, dur. 3' 08"
VI. duet for bassoon & marimba, dur. 3' 26"
VII. full ensemble, dur. 8' 29"

Suite of Suites is designed as a collection from which one should select any number of pieces for performance as a suite (or even a single movement). In the score, two large movements for full ensemble frame duets for each of the winds paired with either marimba or piano.

The larger movements were each allowed to evolve freely from beginning to end, forming a series of sections which add up to a suite-like effect within each of the two larger movements. The first, I, treats a somewhat consonant subject which returns as a signal throughout. The other, VII, deals with more dissonant material and is rhythmically more challenging as well. All the movements exploit the difference between the winds and the sharp attacks of the struck metal strings or wooden bars. Each duet contrasts with the other movements in instrumentation, subject, and character, but all are meant to cooperate and complement any chosen combination of movements, or stand alone.

Suite of Suites, I, score Suite of Suites, I, mp3, 7' 34" (demo)

Suite of Suites, II, score Suite of Suites, II, mp3, 2' 18" (demo)

Suite of Suites, III, score Suite of Suites, III, mp3, 3' 26" (demo)

Suite of Suites, V, score Suite of Suites, IV, mp3, 2' 55" (demo)

Suite of Suites, V, score Suite of Suites, V, mp3, 3' 08" (demo)

Suite of Suites, VI, score CSuite of Suites, VI, mp3, 3' 26" (demo)

Suite of Suites, VII, score Suite of Suites, VII, mp3, 8' 29" (demo)


Music for Wind Trio

April 2005

I. dur. 2' 30"
II. dur. 1' 45"
III. dur. 1' 45"
IV. dur. 1' 35"

• Premiered by Triple Bond in May 2006 at Wittenberg University

Music for Wind Trio, score

Music for Wind Trio, mvt. 1, mp3, 2' 30" (demo)

Music for Wind Trio, mvt. 2, mp3, 1' 45" (demo)

Music for Wind Trio, mvt. 3, mp3, 1' 45" (demo)

Music for Wind Trio, mvt. 4, mp3, 1' 35" (demo)


Soundtrack for Memory of Hope

Computer animation for DV (stereo) or DVD, August 2004, dur. 6' 30"

Memory of Hope, computer animation by Vita Berezina-Blackburn, is a dedication to those who are left to wait for the return of the loved ones. Constantly, wars happen, people die, others remember, hope sustains, some survive. It is structured as a visual poem, treating camera movement as prosody that forms lines and stanzas. Animation is completed using Maya and Aftereffects.

Much of the music grows from the four-chords with tympani near the opening, picking up those descending semi-tones and extending them so that much of the music moves like a lament. Several important canons appear, which (I think) fit with the war scenario: the same old horrors keep coming around, while only the context changes.

While an orchestral impression was desired to match the scope of the visuals, I wanted a more abstract sound pallette to match the fantastic nature of the animation's artwork, so the audio uses many computer simulations of acoustic instruments. The many strings were modeled in several different ways, and some more abstract effects result from unusual treatment of these models. The horns and clarinets are from the Ayers/Horner Cooking with Csound book. Sound rendering was done with Max/MSP and Csound, and the piece was mixed in Digital Performer.

• Selected for 31st Bourges International Competition Of Electroacoustic Music And Sonic Art.

• Screened at the Arena Grand Theater in Columbus, Ohio in November 2004 for the Columbus International Film & Video Festival and 52nd Annual Chris Awards and awarded the Bronze Plaque in the Student Competition.

• Screened at the 34th Annual USA Film Festival, National Short Film and Video Competition in Dallas, Texas in April 2004.

• Screened at the Zlinsky Pes: the 44th International Student Film Competition in Zlin, Czech Republic in June 2004.

• Screened at the Anima Mundi: 12th International Animation Festival of Brazil in Sao Paolo, Brazil in July 2004.

• Invited for screening at the Region IV SCI Conference in Jonesboro, Arkansas in January 2004.

• Premiered at the Arena Grand Theater in Columbus, Ohio in September 2003.

View at Vita's site at ACCAD

View on YouTube


Concerto for Piano, Percussion, and Orchestra

October 2003

I. dur. 2' 54"
II. dur. 2' 01"
III. dur. 4' 11"
IV. dur. 5' 55"

Concerto for Piano, Percussion, and Orchestra is in the character of a chamber concerto, not involving virtuosic instrumental additions or soloists. Many instruments are called on for solos, (possibly extended–especially piano and marimba) which places this work somewhere between a chamber symphony, orchestral work, and a concerto. It was designed to stand with or without a large string section. Minimum strings are: 4, 2, 2, 2, 2, but more would be better.

• Earned an honorable mention in the 2004 ASCAP/Nissim competition

Concerto for Piano, Percussion, and Orchestra, score

Concerto for Piano, Percussion, and Orchestra, mvt. 1, mp3, 2' 54" (demo)

Concerto for Piano, Percussion, and Orchestra, mvt. 2, mp3, 2' 01" (demo)

Concerto for Piano, Percussion, and Orchestra, mvt. 3, mp3, 4' 11" (demo)

Concerto for Piano, Percussion, and Orchestra, mvt. 4, mp3, 5' 55" (demo)


Two Pianos in Three Pieces

For two pianos, 2003

I. dur. 2' 20"
II. dur. 2' 20"
III. dur. 3' 25"

Two Pianos in Three Pieces is in three short movements, each in a different character. The first presents simple variations on a melody. The second sets a scene for two flowing passages of rapid quintuplets. The final movement unfolds several variations of a passacaglia.

• Premiered in June 2003 at The Ohio State University.

Two Pianos in Three Pieces, mvt. 1, score, pages 1 - 3

Two Pianos in Three Pieces, mvt. 2, score, pages 1 - 3

Two Pianos in Three Pieces, mvt. 3, score

Two Pianos in Three Pieces, mp3, 2' 20" (demo)

Two Pianos in Three Pieces, mp3, 2' 20" (demo)

Two Pianos in Three Pieces, mp3, 3' 25" (demo)


Confidences

For guitar solo, 2002, dur. 4' 30"

Confidences for guitar solo originated in Rochester, New York in 1997, and was completed and revised in Columbus, Ohio in 2002. The work is a free fantasy, emphasizing color and range of character. The title suggests that the states and moods the piece unfolds are private but shared, as among friends or confidants.

• Premiered at the The Ohio State University Contemporary Music Festival in Columbus, Ohio, in February 2003 by Dan Bolshoy.

• Confidences was awarded the Ruth Friscoe Prize in Composition in 2002.

Confidences, score, page one

Confidences, mp3, 4' 30" (demo)

Soundtrack for True Nature

Computer animation, 2002, dur. 6' 30"

True Nature, computer animation by Thawatpong Tangsajjapoj (also known as Pop). An artist living in the square-cornered, straight-lined world of the "golden section village" uses his drawing tools to design a cart and begins a journey. An accident leads him to a woman in a cottage in the woods who gives him a brush, with which he remakes his world with curves, enriching the village with a more organic nature.

The music picks up on the golden section reference in the film, using an eight-note scale based on ratios of phi. Many thanks to Norm Carey at the Eastman School of Music for discussion on the fancy scale. A few samples are used for sound effects, but all of the music employs instruments modeled in Csound and LORIS.

• Premiered at the Australian Computer Music Conference in July 2002.

• Presented at the SEAMUS festival in Tempe, Arizona in March 2003, and the BEAMS Electronic Music Marathon in May 2003 at Brandeis University, a public concert that is part of the biannual Boston CyberArts Festival.

• Presented at the Region VI SCI Conference at Stetson University, November 2003.

• Invited for screening at the Region VI SCI Conference in Jonesboro, Arkansas in January 2004.

• Invited for screening at Earfest at SUNY Stony Brook in February 2003.

• Invited for screening at the 13th Annual Florida ElectroAcoustic Music Festival in Gainesville in April 2004.

• Invited for screening at the 13th Annual Florida ElectroAcoustic Music Festival in Gainesville in April 2004.

• Presented at the International Computer Music Conference in Copenhagen, Denmark, August 2007.

Movie stills:


Soundtrack only:

True Nature, audio only, mp3, 6' 30"


Prince of Gosplan

5.1 surround sound DVD or audio, 2001

I. dur 5' 27"
Level 1
II. dur 7' 33"
Level 2
Level 3
Level 8
Level 6
Level 13 (Princess)

Prince of Gosplan sets the opening of Russian author Victor Pelevin's short story of the same name. It describes in detail a video game (mid-1980s, DOS) that the main character, Petya, explores. There are two movements, and the second movement is made of five sections corresponding to the levels achieved in the game. Narration by Marina Lomazov. The narration was recorded by Dave Dusman. The music was mixed in Digital Performer and employs sounds created with Csound, Peak, Loris, and uses custom surround sound software based on Doug Scott's CMIX "move/place/space" routines.

• Premiered at the Maxis Festival in Sheffield, England in November 2001.

• Presented at the OCEAn festival at Oberlin College in November 2002.

• Presented at the Electronic Music Midwest festival in Kansas City in April 2002.

Prince Of Gosplan, mvt. I, excerpt, mp3, 1' 50"

Prince Of Gosplan, mvt. 2, mp3, 7' 35"

Two to the Two

Audio, 1998, dur 4' 23"

Two to the Two is a soundtrack for an animation, from which it has been separated. It is a suite of five movements utilizing my jazz background. The film was an animation by Dan Ganoung, and sets the formal layout of the piece.

• Premiered at Rochester Institute of Technology and Eastman Theater, April 1998.

• Soundtrack played at the International Computer Music Conference in Beijing, China, October 1999.

Two to the Two", mp3, 4' 23"

Aerial Displays

Audio, 1996, dur 8' 07"

I have always been fascinated by the movements within movements of flocks of birds. Aerial Displays explores some of the impressions of these constellations of movements in sound.

• Premiered at the ImageMovementSound festival at in Kilbourn Hall at Eastman, March 1996.

• Programmed on the 1st Annual Electronic Music Festival at the Center for Experiments in Art, Information, and Technology (CEAIT) at CalArts, November 1997.

• Received honorable mention at the Stockholm Electronic Arts Award 1998 Competition.

Aerial Displays, mp3, 8' 07"

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