compositions
2020s
Nesting (2023)
for piano solo with interactive live electronics, 10 minutes.
https://artifactrecordings.bandcamp.com/track/nesting
Summing (2022)
for Ptolemy Duple (metal-keyed percussion instrument in Just Intonation) and
live electronics, 7 minutes.
https://artifactrecordings.bandcamp.com/track/summing
Sub Way Beats (2023)
for two sine waves and two subwoofers, 16 minutes & 20 secs.
https://artifactrecordings.bandcamp.com/track/sub-way-beats
Epimoric Quiverings (2022)
for Ptolemy Duple (a metal-keyed percussion instrument built by Bill Colvig in 16-tone just-intonation), 6 minutes.
https://artifactrecordings.bandcamp.com/track/epimoric-quiverings
RhythmiChrome (2022-24)
solo for MIDI keyboard, virtual piano, interactive computer synthesis, and fixed video by Johanna Poethig,
40 minutes.
Om Monk (2020)
for piano solo, 6 minutes. commissioned for a film by Mildred Howard.
Shuffle-Bagatelles (2022)
for piano with MIDI output and interactive computer sampling and processing, 24 minutes.
Going Under (US) (2020)
for six players playing 6 gangsa (Philippine flat-gongs) dipped into water-coolers, 21 minutes.
Occhio (2020) for voice and cello (one player), oboe, and virtual piano with interactive computer. Composed in Harry Partch’s 43-tone just intonation, setting poetry by Erika Dagnino.
Tangled Web (2020) for improviser on interactive, multichannel computer, any duration.Marking Time (2002)
computer music soundtrack for video installation by Johanna Poethig.
2010s
Some Centre (2019) for voice and cello (one player), oboe, and virtual piano, composed in Harry Partch’s 43-tone just intonation, setting poetry by Emily Dickinson.
Flow In Place (2018) 8-channel sound installation collage of field-recordings. Commissioned by the City of Berkeley for the Downtown Berkeley BART station, 4 hours.
Bagatelles (2017) twelve pieces for piano solo, optionally with “Shuffle” live computer signal processing, 12 minutes
The Thorn (2017) generative rhythmic computer music, as a foil for improvisors with any instruments, 12 to 24 minutes.
First Light (2016) for voice and cello (one player), oboe, and virtual piano in 43-tone just-intonation, setting
poetry by Jackson MacLow, 40 minutes.
KnowNothing (2014) for interactive computer, solo or networks any number of players, any duration.
video of networked performance at SuperDeluxe, Tokyo, 11.18.14
And audio of a network performance between Oakland (Chris Brown) and Tokyo (Tadashi Usami) on Feb. 14, 2015.
Obelisk (2015) for oboe, cello, piano, and interactive computer; or for piano and
computer alone; in either 12 tone just-intonation or equal temperament, 25 minutes.
Ragamala Chiaroscuro II (2014) microtonal music for bass clarinet, alto saxophone, and oboe, 15 minutes.
Score: ragamala II
premiere performance at SF Center for New Music:
Six Primes (2010-14)
suite for piano solo in 13-limit just intonation, 52 minutes.
score: *Six Primes, and link to CD recording on New World Records.
Music of the Lost Cities (2010-14)
music by Chris Brown, video and text by Johanna Poethig, 30 minutes.
Two Left Hands (2013)
dan bau (Vietnamese monochord) and interactive computer, duo improvisation
with Van-Anh Vo, 14 minutes.
Petals (2013)
solo improvisation with interactive computer and keyboard controller, 10-15 minutes.
video of live performance at SuperDeluxe, Tokyo, 11.18.14
Matrix Improvisation (2012)
piano and interactive computer signal processing, 10-15 minutes.
Gangsa (2010)
four flat-gongs and computer signal processing, 19 minutes. Full recording available on Iconicities, New World Records, excerpt below.
2000s
Poly1 (2009)
MIDI keyboard and interactive computer, 9 minutes.
Rivers of Voices (2009)
Transmission Series #5 with Guillermo Galindo, live computer music systems and sound installation of quadraphonic radio transmissions, any duration.
Arcade (2008)
string quartet, a Rhythm-Harmony quartet in just intonation for Henry Cowell, 5 minutes and 15 seconds.
Vav (2008), with The HUB
computer network ensemble, or fixed media surround sound installation. 17 – 35 minutes.
Imaginary Birds (2008)
piano solo, or piano, cello, and percussion, with interactive computer; based on Olivier Messiaen’s Oiseaux Exotiques, 19 minutes.
Stupa (2007), for José Maceda
piano, vibraphone, and interactive computer signal processing
excerpt below, full recording available on Iconicities, New World Records, 15 minutes.
Cut To Ribbons (2005)
computer network ensemble, with The HUB, 11 minutes.
Excerpt below, full recording available on Boundary Layer, Cat#8050-3, 3 CD box set
TeleSon (2005)
two networked reacTables
video of premiere performance in Barcelona, 2005, 19 minutes.
Rogue Wave (2004)
DJ, percussion, and two-channel tape
excerpt below, full recording available on Rogue Wave CD, Tzadik, Cat # 8014, 10 min. 40 secs.
Shuffle (2004)
piano improvisation and interactive computer music system, 9 minutes 30 seconds. Full recording on focsle label, excerpt below.
OverUndeRumba (2004)
string quartet and four-channel tape. 12’25”.
Ragamala Chiaroscuro (2004)
trumpet and two trombones, in 5-limit just intonation, 17 minutes.
Transmission Mission (2004)
Transmission Series #4 with Guillermo Galindo, live computer music systems and sound installation of quadraphonic radio transmissions, any duration.
Retrospectacles (2003)
piano solo with interactive computer processing, 32 minutes. Full recording on focsle , excerpt below.
Transmission Main Street (2003)
Transmission Series #3 with Guillermo Galindo, live computer music systems and sound installation of quadraphonic radio transmissions, any duration.
Transmission Temescal (2002)
Transmission Series #1 with Guillermo Galindo, live computer music systems and sound installation of quadraphonic radio transmissions, any duration.
Marking Time (2002)
computer music soundtrack for video installation by Johanna Poethig.
Transmision Naranja (2002)
live computer music systems and quadraphonic radio transmissions, with Guillermo Galindo
Cloudstreams/Bellwethers (2001)
computer network ensemble
excerpt below, full recording available on Rogue Wave CD, Tzadik
Branches (2001), subtitle: Invention #7
trio for MIDI piano and interactive computer, percussion and DJ-turntablist (1st track below); MIDI piano solo and computer version (2nd track).
Invention #6 (2000)
computer network ensemble, using SuperCollider 2 software
TimeBomb (2000)
4 pieces for trombone solo and interactive computer,with and for Abbie Conant, on poems by Mina Loy
links to audio of the pieces
Invention #5 (2000)
for computer network ensembles via the internet
1990s
Knottyspine (1999)
for MIDI keyboard and interactive computer
Invention #4 (1999)
piano solo: disklavier recording (below)
original version for four melody instruments and interactive computer network
Eternal Network Music (1998-99)
computer networks, created for and accessed through Crossfade website
Waves (1998 )
shakuhachi and interactive computer
Inventions #1-3 (1997)
MIDI keyboard and interactive computer
Invention#1 recording:
ManyStreams (1996 )
quartet of melody instruments and computer
Talking Drum (1995)
computer network quartet interacting with acoustic improvisors – Talking Drum @ CNMAT recording is below, Pogus Records CD contains a continuously played selection of performances and field recordings from around the world
Tenebrae (1994)
violin, interactive electronics,and quadraphonic spatialization system
Flies (1993)
violin, piano, percussion and interactive electronics
excerpt below, full recording available on Rogue Wave CD, Tzadik
Lava (1992)
for four brass, four percussion, and a computer signal processing and quadraphonic spatialization system (one hour duration)
excerpt below, full composition available on Lava CD, Tzadik
Wheelies (1992)
computer network ensemble, with The HUB
excerpt below, full recording available on Boundary Layer, 3CD box set, Tzad
Chain Reaction (1990)
tenor saxophone, Airdrums MIDI controller, piano/MIDI keyboard, and computer
excerpt below performed by Room (Larry Ochs, saxophone, William Winant, percussion, and Chris Brown, piano, Scot Gresham-Lancaster, electronics), from CDCM Computer Music Series Volume 17 Music from the Center for Contemporary Music at Mills College, 1994, Centaur CRC2195 CD
Three Over Two (1990)
piano solo, or sopranino saxophone, vibraphone, and electronic percussion
performance by Room (Larry Ochs, sax; William Winant, vibraphone, Chris Brown, electronic percussion) from 1991 CD Hall of Mirrors, on Music & Arts
Quartet with Shadows (1989-90)
saxophone quartet and harmonizer
commissioned and performed by the ROVA Saxophone Quartet
1980s
Duo (1989)
for two improvisors: an acoustic instrument improvisor and and electronics performer playing MIDI keyboard and computer-driven signal processing
Snakecharmer (1989)
for solo instrumentalist with interactive computer-driven synthesizer
Hall of Mirrors (1986)
for piano solo, or trio of tenor saxophone, percussion, and piano with interactive electronics
Iceberg (1985)
for percussion (glockenspiel, hi-hat and crotales) and digitally controlled analog signal processing
Obedience School (1985)
for amplified keyboard percussion (“Gazamba”) and interactive computer
Post Mortem (1984)
for tenor saxophone, percussion, piano and digital delay, or for piano/keyboard solo with interactive electronics
Conjunction (1983)
for carrillon and amplified bowed bronze rods
Alternating Currents (1983) for orchestra and three soloists: trombone, percussion, and two electroacoustic instruments (electric prepared piano and amplified bronze rods)
Cobalt Blue (1982)
for saxophone and piano
Alchemical Mobsters (1982)
songs with lyrics by Michael Schippling and Johanna Poethig, for tenor or soprano and mixed electroacoustic instruments.
Wild Boys (1980)
song with text by W.S. Burroughs, for piano, voice, tape, and live electronics
Curved Space Transit (1980) for amplified rods (“Ice Queen”) and stereo tape
Insect Love, (1980) for amplified rods (“The Wing”) and live electronics
1970s
Quay (1977)
for inside-the-piano solo
Sparks (1976)
for piano solo
Chorale (1975)
for mixed instrumental ensemble
Rhythms, (1975)
for drums
Quickening 60:63 (1974)
53 day performance, co-composed with Carl Fravel and
performed March-April 1974 in Santa Cruz, California by the composers with many collaborators