compositions
2020s
RhythmiChrome (2025)
Music Video with Chris Brown solo for MIDI keyboard, virtual piano, and live interactive computer, and video by Johanna Poethig. 7 sections = 40 minutes.
RhythmiChrome (2022) solo for MIDI keyboard, virtual piano, and live interactive computer. This improvisational piece is based on just-intoned harmonic-rhythms of four of the seven songs in my 2021 cycle Occhio (2020), a trio for virtual piano, voice and cello, oboe, and computer. It functions like an animated audio puzzle, in which each note played is realized simultaneously in both pitch and rhythm, extending the ideas of Henry Cowell and their realization in Leon Theremin’s Rhythmicon. Integer ratios chosen from Harry Partch’s 43-tone tuning system define modes that combine pitches from both the harmonic and subharmonic series producing colors that mix major and minor tonalities. Meanwhile the denominator of each ratio divides the tempo and the numerator provides the number of those divisions used in computer-generated, repeating rhythmic cycles. Sustained chords result in polyrhythmic combinations of cycles and tempi that serve as foils for the improvisor to interweave melodies and rhythms, gradually instigating changes in their progression. The series of these “rhythmiChrome” chords also sympathetically resonate unsustained pitches and melodies. The score is based on the seven sections of the trio song cycle Occhio (2020).
Sub Way Beats (2023) for two sine waves, two subwoofers and digitally controlled electronics.
16 minutes & 20 seconds.
Listen: https://artifactrecordings.bandcamp.com/track/sub-way-beats
Nesting (2023) for piano solo and 2 interactive sine-waves. 10 minutes.
Listen: https://artifactrecordings.bandcamp.com/track/nesting
Summing (2022) for Ptolemy Duple (metal-keyed percussion instrument in 16-tone Just Intonation Just Intonation) and interactive live electronics, 7 minutes.
Performed by William Winant, photo of him below with the Ptolemy Duple.
Listen: https://artifactrecordings.bandcamp.com/track/summing
Epimoric Quiverings (2020) for Ptolemy Duple (metal-keyed percussion instrument in 16-tone Just Intonation Just Intonation).
Listen: https://artifactrecordings.bandcamp.com/track/epimoric-quiverings
Om Monk (2020)
for piano solo, 6 minutes. commissioned for a film by Mildred Howard.
Shuffle-Bagatelles (2020)
for piano with MIDI output and interactive computer sampling and processing, 24 minutes.
A series of short piano pieces (Bagatelles) are played in random order (shuffled), randomly sampled and subjected to various electronic processes that play back as part of the music.. like shadows streaming or clouds erupting in the surface of the music. Composed, programmed, and performed by Chris Brown a the Center For New Music in San Francisco as part of a streaming concert during the Covid pandemic, when in-person concerts were not possible.
Going Under (US) (2020)
Each of six players plays one gangsa, a small, bronze flat-gong from the mountainous Cordillera region, Luzon, Philippines, traditionally played in unison by ensembles where each gangsa produces a different pitch. Each player holds their gangsa over a tub of water, strikes it with a stick, then lowers it gradually into the water, producing a descending glissando.The score for the piece consists of a six bar-graphs displaying the number of newly confirmed Covid-19 infections on every day between
March 1 and June 30, 2020 in six different states of the United States. 21 minutes.
Occhio (2020) for voice and cello (one player), oboe, and virtual piano with interactive computer. a song cycle
setting poetry by Erika Dagnino performed by The Chromelodia Project: Chris Brown, Theresa Wong, and Kyle Bruckmann.
Composed in Harry Partch’s 43-tone just intonation, setting poetry by Erika Dagnino.
Listen: https://artifactrecordings.bandcamp.com/album/occhio-art-3016-2023
Tangled Web (2020) for improvised interactive, computer, multichannel, 12’30” edit.
2010s
Some Center (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. Performed by The Chromelodia Project: Chris Brown, Theresa Wong, and Kyle Bruckmann. New World Records CD release Some Center
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.
Performed by The Chromelodia Project: Chris Brown, Theresa Wong, and Kyle Bruckmann. Released as part of on New World CD Some Center
KnowNothing (2014) for interactive computer, solo or networks any number of players, any duration.
video of networked performance at SuperDeluxe, Tokyo, 11.18.14.
Listen: networked 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
New World Records CD SixPrimes
Excerpt:
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
Rivers of Voices (2009) live computer music systems and quadraphonic radio transmissions, with Guillermo Galindo
Arcade (2008)
string quartet in just intonation, a Rhythm-Harmony quartet for Henry Cowell
Vav (2008), with The HUB
computer network ensemble, or fixed media surround sound installation
Imaginary Birds (2008)
piano solo, or piano, cello, and percussion, with interactive computer; based on Olivier Messiaen’s Oiseaux Exotiques
Avatar (2007) soundtrack for the film Tramas by Portuguese filmmaker Augusto Contento. Made entirely with piano sounds, on the keyboard and inside, and electronic processing.
Stupa (2007), for José Maceda
, for piano, vibraphone, and interactive computer signal processing
excerpt below, full recording available on Iconicities, New World Records
Cut To Ribbons (2005)
computer network ensemble, with The HUB
excerpt below, full recording available on Boundary Layer, 3CD box set, Tzadik
Fugue for Wood (2006) fixed media, commissioned by percussionist Pedro Carneiro using only sounds he recorded on the marimba.
TeleSon (2005) composed for
two networked reacTables
in Barcelona, 2005. Check out video of premiere performance under “performance” menu.
Rogue Wave (2004)
DJ, percussion, and two-channel tape
— excerpt below, full recording available on Rogue Wave CD, Tzadik.com
Shuffle (2004)
piano improvisation and interactive computer music system
OverUnder Rumba (2004)
string quartet and four-channel tape
Ragamala Chiaroscuro (2004)
trumpet and two trombones, in 5-limit just intonation
Transmission Mission (2004)
live computer music, poetry and quadraphonic radio transmissions, with Guillermo Galindo
Retrospectacles (2003)
piano and interactive computer processing. Available on the fo’c’sle double-CD release.
Transmission Main Street (2003)
live computer music quadraphonic radio transmissions. Collaboration with Guillermo Galindo and students from the CSU Monterey Bay Music program.
Transmission Temescal (2002)
live computer music systems and quadraphonic radio transmissions, with Guillermo Galindo
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.com
Branches (2001-rev 2023), subtitle: Invention #7
trio for MIDI piano and interactive computer, percussion and DJ-turntablist (1st track below);
2023 revised version: Piano with interactive computer, percussion and cello.
Listen: https://artifactrecordings.bandcamp.com/track/branches
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
Selected Performances: 2.17.2001, Wesleyan University, Middletown, CT
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.
Tenebrae is the Latin word for “darkness” or “shadows”. It is a service for the Holy Week in which there is a gradual extinguishing of candles in the church until only on remains. My piece enacts a musical analog of this swervice by equating light and sound, darkness and silence.
Selected Performances: 3.30.1994 Rockefeller Memorial Chapel, Chicago.
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
Selected Performances: 1) 9.29&30.1992, The Great American Music Hall, San Francisco; 2) Münster, Germany
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
Selected Performances:
5.10.1991 WDR Funkhaus,Rheinisches Nusikfest 1991 Cologne
Iceberg (1985)
for percussion (glockenspiel, hi-hat and crotales) and digitally controlled analog signal processing
Selected Performances: 1) 4&5.5.1987 Monday Evening Concerts, Los Angeles County Museum of Art; 2) 1985 New Music America Festival, Schoenberg Hall, UCLA
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)
Performances: 1) Premiere, 3.24.1983, Berkeley Symphony Orchestra conducted by Kent Nagano; 1st Congregational Church, Berkeley; 2) Santa Cruz Symphony conducted by Marin Alsop. Excerpt of the 1st of 3 movements with synthesized orchestra — full piece is available on Tzadik CD “Rogue Wave”
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
Insect Love, (1980) for amplified rods (“The Wing”) and live electronics
Curved Space Transit (1980) collaboration with Tom Nunn, for amplified percussion, bowed metal rods (“Space Plate”, “Wing”, and amplitude modulation.
1970s
Quay (1977)
a suite of improvised sections for inside-the-piano:
1) parallax
2) wacko
3) steerIt
4) sparks
5) cocoon
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