From 1992 until mid 1996 I spent quite a bit of time writing
music of the non-rock variety. This didn't mean I wasn't still jamming
Kurt (and eventually Patrick) on our Thermonuclear Love Triangle project,
but I thoroughly enjoyed composing in a more classical style. The recordings
all I have in my notation archives, and comprise the significant bulk
of my compositional activities. All of these pieces and fragments were
written during my time in the music department at UC Riverside and
my first year of graduate school at UCLA. That year (95-96) I participated
the UCLA guitar ensemble, and a large part of our class time was spent
in composition. Hence, there's quite a bit of guitar music below. The
other pieces (which I refer to as "opuses" with tongue firmly
in cheek) are all from UC Riverside and are chamber works created for
classes. Finally, there is at least one piece that I can remember composing
while sitting by the pool at the Imperial Palace hotel and casino in
Las Vegas, a 12-tone piece (you can actually write scary atonal music
while getting a suntan!), but it has somehow escaped being notated and
the sketch book containing it is gone as well. Into the mists of time.
Recording Notes: Only three of the pieces were
recorded using live humans (though most of the opuses were at least
humans). The rest of the recordings you'll hear thanks to MIDI software
instruments. To hear these files you'll need to have QuickTime installed.
Written in the spring of 1995 for viola and piano. The title
is a clever pun for the always-present variations on the first
four notes of the viola melody. Performed by Phil Rush (viola)
and Barbara Bennett (piano). (5 MB .mp3)
Patrick has the human tape of this one. Will retrieve it asap.
Composed in 1992 for my first composition class, it's for
piano, violin, and cello. It's trying to be tonal but clearly
my harmonic language is also trying to be more edgy. I think
of this as my "sweetly earnest" style.
A bit of a strange one. Written in
spring 1994 for a composition class that was taught by a
pretty thorough modernist named John
Crawford. Very nice man, but he made us listen to a lot of
wind quintets by people like Milton Babbit and Walter Piston
(wind quintets are traditionally comprised
of: flute, oboe, clarinet,
French horn, and bassoon). The long section in
the middle of
is supposed to slip
in and out of tune, but I didn't bother trying to figure
out how to make MIDI do it for this recording.
"Guitar Trio for Too Guitars"
: I : : II : : III : : IV : :
V : : VI :
After three years in the guitar ensemble at UCR I spent one
year in a similiar ensemble at UCLA. The focus of the UCR
ensemble was clearly on performance (we did quite a lot of performances
at area colleges), but the focus at UCLA was much more on
This suite of six short pieces was written and compiled during
that year. I even wrote an
Introduction to the score. The
recordings were done in the summer of 1996 by me. (500KB - 2.7MB
Another piece from winter 1996. Metrically influenced by
Patrick as well -- during the second section of the piece one
is playing in 7/4 while another is playing in 11/12 (the 11/12
isn't performed correctly by the MIDI recording though).
Here's one from early 1996 that I'm not sure whether to call
an Opus or a Fragment. The only reason it's here as an Opus
is because I found extracted parts in the same folder as
score. Hence, I assume it was complete. I'll let you be the
This is apparently the beginnings of the first movement
to a three-movement piano trio begun following the completion
This oddly named piece (working title obviously) was actually
going to be written for three kids who lived up the street
from my parents' house. Between the three of them, they played
violin, clarinet, and piano. Never finished it, but here's
the fragment anyway...
I think this was also written in early 1996. It's for two
guitars. I have no idea what the title refers to...