Some contrapuntal piano music, from 1993.

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According to the dictionary, a “stint” is a “a period of time spent in a particular activity.”  That certainly fits this piece for viola and piano, built up of repeated riffs.

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Following the Thanksgiving show, KPFA invited me back for Valentine’s Day in 1978.  I sang some songs, played piano, and played 78s.

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On May 2, 2012, Larry Ratso Sloman and Mark Jacobsen presented a “Live Radio Hour” at Housing Works, in NYC, devoted to Coney Island.  They invited me to sing a song about the place; I arranged Harry Von Tilzer’s 1902 tune, “All Aboard for Dreamland,” for viola and baritone uke, and performed it with David […]

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There are 840 diatonic four-pitch chords.  A number of years ago, I randomized them; and have often used them as a basis for composition.  I don’t use them straight; but re-order, transpose, and add to them in various ways.

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I recommend Kyle Gann’s book No Such Thing as Silence: John Cage’s 4’33”: a thorough and entertaining look at that provocative piece.  I was happy to see that Kyle mentioned the performance he and I did of Cage’s Experiences No. 1, long ago when we were fellow composition students at Oberlin Conservatory.

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A nocebo is a placebo with harmful side effects.  This one is a waltz for viola and piano.

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Life is nasty, it is brutish.  Here’s the first part.

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I do like the rich sound of viola and organ.  Here’s the beginning of a brooding piece for that combination.

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