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PROGRAM NOTES
Tachycardia
Alto Saxophone & Clarinet
Duration:
5'
Year:
2014/20
- Alto Saxophone & Clarinet edition -
Program note:
Tachycardia is scored for two Alto Saxophones, though it may be played on any pair of like or similar instruments. I have a mild heart condition called Atrial Tachycardia, and for as long as I can remember, I have felt my heart skip beats. I was writing Tachycardia during a period when I was actively addressing my heart condition, and for the first time, following two procedures, my heart stop skipping. The sensation of feeling my heartbeat now in a regular, normal rhythm, was both odd and surreal, but it was also inspiring to me to put into sound. The two instruments represent the two halves of a human heart, each containing one atrium and one ventricle. In this short piece, they work together, interlocking and producing a life moving force that keeps the sound moving forward. The music rarely stops or pauses, and keeps beating to the end, always in a regular meter.
Tachycardia is the result of an international consortium of 32 Saxophonists. It was one of the quickest forming consortiums I have ever been involved in, fully formed in less than 24 hours.
-MM
Tachycardia
2 Flutes
Duration:
5'
Year:
2014/20
- Flute edition -
Program note:
Tachycardia is scored for two Alto Saxophones, though it may be played on any pair of like or similar instruments. I have a mild heart condition called Atrial Tachycardia, and for as long as I can remember, I have felt my heart skip beats. I was writing Tachycardia during a period when I was actively addressing my heart condition, and for the first time, following two procedures, my heart stop skipping. The sensation of feeling my heartbeat now in a regular, normal rhythm, was both odd and surreal, but it was also inspiring to me to put into sound. The two instruments represent the two halves of a human heart, each containing one atrium and one ventricle. In this short piece, they work together, interlocking and producing a life moving force that keeps the sound moving forward. The music rarely stops or pauses, and keeps beating to the end, always in a regular meter.
Tachycardia is the result of an international consortium of 32 Saxophonists. It was one of the quickest forming consortiums I have ever been involved in, fully formed in less than 24 hours.
-MM
Tachycardia
2 Marimbas
Duration:
10'
Year:
2014/2024
- Marimba Duo edition -
Program note:
Tachycardia is scored for two Alto Saxophones, though it may be played on any pair of like or similar instruments. I have a mild heart condition called Atrial Tachycardia, and for as long as I can remember, I have felt my heart skip beats. I was writing Tachycardia during a period when I was actively addressing my heart condition, and for the first time, following two procedures, my heart stop skipping. The sensation of feeling my heartbeat now in a regular, normal rhythm, was both odd and surreal, but it was also inspiring to me to put into sound. The two instruments represent the two halves of a human heart, each containing one atrium and one ventricle. In this short piece, they work together, interlocking and producing a life moving force that keeps the sound moving forward. The music rarely stops or pauses, and keeps beating to the end, always in a regular meter.
Tachycardia is the result of an international consortium of 32 Saxophonists. It was one of the quickest forming consortiums I have ever been involved in, fully formed in less than 24 hours.
-MM
Tachycardia
2 Alto Saxophones
Duration:
5'
Year:
2014
- Alto Saxophone edition -
Program note:
Tachycardia is scored for two Alto Saxophones, though it may be played on any pair of like or similar instruments. I have a mild heart condition called Atrial Tachycardia, and for as long as I can remember, I have felt my heart skip beats. I was writing Tachycardia during a period when I was actively addressing my heart condition, and for the first time, following two procedures, my heart stop skipping. The sensation of feeling my heartbeat now in a regular, normal rhythm, was both odd and surreal, but it was also inspiring to me to put into sound. The two instruments represent the two halves of a human heart, each containing one atrium and one ventricle. In this short piece, they work together, interlocking and producing a life moving force that keeps the sound moving forward. The music rarely stops or pauses, and keeps beating to the end, always in a regular meter.
Tachycardia is the result of an international consortium of 32 Saxophonists. It was one of the quickest forming consortiums I have ever been involved in, fully formed in less than 24 hours.
-MM
Tachycardia
2 Clarinets
Duration:
5'
Year:
2014/18
- Clarinet edition -
Program note:
Tachycardia is scored for two Alto Saxophones, though it may be played on any pair of like or similar instruments. I have a mild heart condition called Atrial Tachycardia, and for as long as I can remember, I have felt my heart skip beats. I was writing Tachycardia during a period when I was actively addressing my heart condition, and for the first time, following two procedures, my heart stop skipping. The sensation of feeling my heartbeat now in a regular, normal rhythm, was both odd and surreal, but it was also inspiring to me to put into sound. The two instruments represent the two halves of a human heart, each containing one atrium and one ventricle. In this short piece, they work together, interlocking and producing a life moving force that keeps the sound moving forward. The music rarely stops or pauses, and keeps beating to the end, always in a regular meter.
Tachycardia is the result of an international consortium of 32 Saxophonists. It was one of the quickest forming consortiums I have ever been involved in, fully formed in less than 24 hours.
-MM
Tapas
Violin, Viola, Cello
Duration:
16'
Year:
2007
Program note:
“Tapas,” for Violin, Viola, & Cello, is in eight short movements all working together to a large extent like a baroque suite. The individual lines fit closely together much like the pieces of a puzzle, each instrument relying on each other to fill in the spaces. My task was to create a work that allowed for short “tastes” of different musical ideas that still worked together creating a larger whole. The music itself should speak directly, creating a sound world unique to itself. Tapas was commissioned by “Musique en Roue Libre” and is dedicated to the French cellist Fabrice Bihan. It was premiered in August 2007 in Hendecourt-les-Cagnicourt, during a two-week festival of the music of Mellits and Brahms.
-MM
Tapas
Saxophone Quartet
Duration:
16'
Year:
2017
- Saxophone Quartet edition -
Program note:
“Tapas” is in eight short movements all working together to a large extent like a baroque suite. The individual lines fit closely together much like the pieces of a puzzle, each instrument relying on each other to fill in the spaces. My task was to create a work that allowed for short “tastes” of different musical ideas that still worked together creating a larger whole. The music itself should speak directly, creating a sound world unique to itself. Tapas was commissioned by “Musique en Roue Libre” and is dedicated to the French cellist Fabrice Bihan. The original version for String Trio was premiered in August 2007 in Hendecourt-les-Cagnicourt, during a two-week festival of the music of Mellits and Brahms. I later created a version for String Quartet, and then Dannel Espinoza arranged “Tapas” for Saxophone Quartet.
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Tapas
Mallet Quartet (2 Vibraphones & 2 Marimbas)
Duration:
16'
Year:
2008/22
- Mallet Quartet edition -
Program note:
“Tapas” is in eight short movements all working together to a large extent like a baroque suite. The individual lines fit closely together much like the pieces of a puzzle, each instrument relying on each other to fill in the spaces. My task was to create a work that allowed for short “tastes” of different musical ideas that still worked together creating a larger whole. The music itself should speak directly, creating a sound world unique to itself. Tapas was commissioned by “Musique en Roue Libre” and is dedicated to the French cellist Fabrice Bihan. The original version, which this edition is based on, is for String Trio was premiered in August 2007 in Hendecourt-les-Cagnicourt, during a two-week festival of the music of Mellits and Brahms.
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Tapas
Soprano Saxophone, Clarinet, Bassoon
Duration:
16'
Year:
2008/19
- Sop. Sax., Clar., Bsn. edition -
Program note:
“Tapas” is in eight short movements all working together to a large extent like a baroque suite. The individual lines fit closely together much like the pieces of a puzzle, each instrument relying on each other to fill in the spaces. My task was to create a work that allowed for short “tastes” of different musical ideas that still worked together creating a larger whole. The music itself should speak directly, creating a sound world unique to itself. Tapas was commissioned by “Musique en Roue Libre” and is dedicated to the French cellist Fabrice Bihan. The original version, which this edition is based on, is for String Trio was premiered in August 2007 in Hendecourt-les-Cagnicourt, during a two-week festival of the music of Mellits and Brahms.
-MM
Tapas
Violin, Marimba, Alto/Baritone Saxophone
Duration:
16'
Year:
2008/20
- Violin, Marimba, Saxophone edition -
Program note:
“Tapas” is in eight short movements all working together to a large extent like a baroque suite. The individual lines fit closely together much like the pieces of a puzzle, each instrument relying on each other to fill in the spaces. My task was to create a work that allowed for short “tastes” of different musical ideas that still worked together creating a larger whole. The music itself should speak directly, creating a sound world unique to itself. Tapas was commissioned by “Musique en Roue Libre” and is dedicated to the French cellist Fabrice Bihan. The original version, which this edition is based on, is for String Trio was premiered in August 2007 in Hendecourt-les-Cagnicourt, during a two-week festival of the music of Mellits and Brahms.
-MM
Tapas
Soprano Saxophone, Alto Saxophone, Tenor Saxophone
Duration:
16'
Year:
2007/18
- Sop., Alto, Tenor Saxophone edition -
Program note:
“Tapas” is in eight short movements all working together to a large extent like a baroque suite. The individual lines fit closely together much like the pieces of a puzzle, each instrument relying on each other to fill in the spaces. My task was to create a work that allowed for short “tastes” of different musical ideas that still worked together creating a larger whole. The music itself should speak directly, creating a sound world unique to itself. Tapas was commissioned by “Musique en Roue Libre” and is dedicated to the French cellist Fabrice Bihan. The original version, which this edition is based on, is for String Trio was premiered in August 2007 in Hendecourt-les-Cagnicourt, during a two-week festival of the music of Mellits and Brahms.
-MM
Tapas
Soprano Saxophone, Tenor Saxophone, Baritone Saxophone
Duration:
16'
Year:
2008/22
- S/A/B Saxophone edition -
Program note:
“Tapas” is in eight short movements all working together to a large extent like a baroque suite. The individual lines fit closely together much like the pieces of a puzzle, each instrument relying on each other to fill in the spaces. My task was to create a work that allowed for short “tastes” of different musical ideas that still worked together creating a larger whole. The music itself should speak directly, creating a sound world unique to itself. Tapas was commissioned by “Musique en Roue Libre” and is dedicated to the French cellist Fabrice Bihan. The original version, which this edition is based on, is for String Trio was premiered in August 2007 in Hendecourt-les-Cagnicourt, during a two-week festival of the music of Mellits and Brahms.
-MM
Tight Sweater
Baritone Saxophone, Marimba, Piano
Duration:
19'
Year:
2005/16
- Baritone Saxophone edition -
Program note:
Tight Sweater is music that is tightly composed, with rapidly shifting patterns of notes and rhythms. Each one of the six movements explore relationships between the instruments, combining them in unique ways that each create vivid sound worlds. The instruments themselves are treated as only one small part of a larger combined instrument. Linear melodic lines are formed from vertical sounding harmonies; funky bass lines can dictate harmonic textures while chordal sounds can inspire melodic writing occurring between the instruments. Tight Sweater was commissioned by ‘Real Quiet’ and the Muzik 3 Foundation.
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Tight Sweater
Bass Clarinet, Marimba, Piano
Duration:
19'
Year:
2005/16
- Bass Clarinet edition -
Program note:
Tight Sweater is music that is tightly composed, with rapidly shifting patterns of notes and rhythms. Each one of the six movements explore relationships between the instruments, combining them in unique ways that each create vivid sound worlds. The instruments themselves are treated as only one small part of a larger combined instrument. Linear melodic lines are formed from vertical sounding harmonies; funky bass lines can dictate harmonic textures while chordal sounds can inspire melodic writing occurring between the instruments. Tight Sweater was commissioned by ‘Real Quiet’ and the Muzik 3 Foundation.
-MM
Tight Sweater
Cello, Marimba, Piano
Duration:
19'
Year:
2005
Program note:
Tight Sweater is music that is tightly composed, with rapidly shifting patterns of notes and rhythms. Each one of the six movements explore relationships between the instruments, combining them in unique ways that each create vivid sound worlds. The instruments themselves are treated as only one small part of a larger combined instrument. Linear melodic lines are formed from vertical sounding harmonies; funky bass lines can dictate harmonic textures while chordal sounds can inspire melodic writing occurring between the instruments. Tight Sweater was commissioned by ‘Real Quiet’ and the Muzik 3 Foundation.
-MM
Tight Sweater Remix
Marimba & Piano
Duration:
9'
Year:
2009
Program note:
Tight Sweater Remix is a Piano & Marimba version of Tight Sweater, which was originally scored for Cello, Piano, and Marimba and commissioned by ‘Real Quiet’ and the Muzik 3 Foundation. Of the six original movements, three seemed to work quite well for Piano/Marimba duo. This is music that is tightly composed, with rapidly shifting patterns of notes and rhythms. The two instruments combine, mix, and ‘remix’ in ways that present each one as half of a combined larger instrument. Linear melodic lines are formed from vertical sounding harmonies; funky bass lines can dictate harmonic textures while chordal sounds can inspire melodic writing occurring between the two instruments.
-MM
Titan
Bass Clarinet, 2 Violins, Viola, Cello
Duration:
19'
Year:
2018
Program note:
Titan is Saturn’s largest moon. It is a mammoth icy world with a dense, golden, hazy atmosphere. It has rivers and lakes of liquid methane, and an active cycle of rain flowing to the surface, and then evaporating back into the sky. It is the only other known body in space, other than Earth, to have stable bodies of lakes and seas. Within this cold and formidable land, there is also otherworldly joy, full of inspiration. The music in my Titan is in eight, short, interconnected movements of play depicting a joyful life for our fictional interstellar friends. The motives of music also circulate, like rain, throughout all eight movements, and form eight different bodies of sound. The Bass Clarinet serves as an anchor, and a “Titan,” for which the rings of music circle. All musical material stem from the sound of the integration of the Bass Clarinet within its four rotating, golden, hazy, and “string-like” atmospheric rings. Within this world, Phoebe and Janus might not be able to see very well, but they love to swim in the healing methane lakes of Vänern, Kivu, and Hammar.
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Tom
2 Guitars
Duration:
11'
Year:
2008
- Guitar edition -
Program note:
“Tom” was written in memorial for the legendary guitar luthier, Thomas Humphrey, who left us far too early in 2008 at the young age of 59. “Tom” is playable either on two guitars or violin and cello (cello being Tom’s original instrument of choice, guitar being the instrument he is most noted for). Tom was an amazing person, full of energy, hope, and had a true passion for all things music. One of the aspects about Tom that I loved was his ‘outside the box’ thinking. His innovations to acoustic guitar design are widely known, but he was also someone who saw potential in everyone and loved putting different musicians together to see what they might create; Tom was a sincerely forward thinker with an extremely generous heart. The music itself in “Tom” is a dialogue between the two instruments that often play as one, larger, combined instrument. I tried to combine the duo in unique ways, searching for a sound that lied within the combination of both pairs of instruments. Being entirely string instruments, I often played on the tunings of each and the resonance that the combinations make. I wanted the music to be full of hope, not sadness, a representation of the way I will always remember my friend Tom.
-MM
Tom
Violin & Cello
Duration:
11'
Year:
2008
- Violin & Cello edition -
Program note:
“Tom” was written in memorial for the legendary guitar luthier, Thomas Humphrey, who left us far too early in 2008 at the young age of 59. “Tom” is playable either on two guitars or violin and cello (cello being Tom’s original instrument of choice, guitar being the instrument he is most noted for). Tom was an amazing person, full of energy, hope, and had a true passion for all things music. One of the aspects about Tom that I loved was his ‘outside the box’ thinking. His innovations to acoustic guitar design are widely known, but he was also someone who saw potential in everyone and loved putting different musicians together to see what they might create; Tom was a sincerely forward thinker with an extremely generous heart. The music itself in “Tom” is a dialogue between the two instruments that often play as one, larger, combined instrument. I tried to combine the duo in unique ways, searching for a sound that lied within the combination of both pairs of instruments. Being entirely string instruments, I often played on the tunings of each and the resonance that the combinations make. I wanted the music to be full of hope, not sadness, a representation of the way I will always remember my friend Tom.
-MM
Trio
Flute, Clarinet, Cello
Duration:
12'
Year:
1993
Program note:
Trio is built upon five distinct sections, exploring different textures without diverting from the roots of the opening material. The three performers each play an integral part in forming this cohesive whole, sometimes creating sounds that are only possible from this specific combination. In this way, each player depends on one another in a socially just musical world.
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Troica
Flute (or Violin), Guitar (or Electric Guitar or Piano), Marimba (or Piano)
Duration:
7'
Year:
1998
- Flexible instrumentation -
Program note:
Troică, scored for three instruments, is also the Romanian word for a sleigh pulled by three horses. The piece begins with all three instruments playing the same notes, slightly displaced, akin to the three horses of a troică. As the music progresses, the three instruments move together, and then apart from each other, and often back again. Each instrument represents only one part of the larger musical picture; they complete each other’s phrases, melodies, and rhythms. The music is a type of musical sleigh, often with a rhythm of two and three happening simultaneously. Troică was originally composed to accompany the Ithaca, NY, based dance company, “Troika,” and elements of dance-like structures are used throughout.
-MM
Wide Load
2 Bass Clarinets
Duration:
2'30"
Year:
2024
- Bass Clarinet Duo edition -
Program note:
Wide Load, scored for two Bass Clarinets, explores the universe that exists in the lowest register of these two very low instruments. They are often musically spaced very close together, creating a low driving sound that murk’s its way through the musical landscape. This space between the two instruments creates a “wide” and “heavy” sound, grounding the music in the deepest depths of the instruments. The music is then constructed around the resonation effect that this space loads, often reaching beyond the low boundaries initially set up.
-MM
Wide Load
Bassoon & Bass Clarinet
Duration:
2'30"
Year:
2024/2025
- Bassoon & Bass Clarinet -
Program note:
Wide Load, in this edition scored for Bass Clarinet and Bassoon, explores the universe that exists in the lowest register of these two very low instruments. They are often musically spaced very close together, creating a low driving sound that murk’s its way through the musical landscape. This space between the two instruments creates a “wide” and “heavy” sound, grounding the music in the deepest depths of the instruments. The music is then constructed around the resonation effect that this space loads, often reaching beyond the low boundaries initially set up.
-MM
Wide Load
Bass Clarinet & Baritone Saxophone
Duration:
2'30"
Year:
2024/2025
- Bass Clar & Bar Sax edition -
Program note:
Wide Load, in this edition scored for Bass Clarinet and Baritone Saxophone, explores the universe that exists in the lowest register of these two very low instruments. They are often musically spaced very close together, creating a low driving sound that murk’s its way through the musical landscape. This space between the two instruments creates a “wide” and “heavy” sound, grounding the music in the deepest depths of the instruments. The music is then constructed around the resonation effect that this space loads, often reaching beyond the low boundaries initially set up.
-MM
Zodiac
Marimba
Duration:
20'
Year:
2016
Program note:
Zodiac was composed in 2016 on a consortium including 30 percussionists. The work in divided into 12 movements, with each movement corresponding to an astrological sign. These are 12 very short splashes of astrological sound, that each take an idea and then explore permutations and developments of small, short ideas. The music weaves itself through rhythm, color, and melodic ideas, expanding and contracting, like the universe itself. I wrote the majority of Zodiac on a beautiful Marimba One owned by the Peter Ferry and was also able to workshop the piece with Peter, which proved to be an incredible experience into the world of what’s possible (and what’s not), on marimba. More importantly, however, I felt that the music emanated from the instrument, and I was less composing and more refining what the instrument wanted to sing.
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