Music for Gamelan

Bubaran Kiev (2010) – for Javanese gamelan, dedicated to Sergei Tschernisch

Fragments and Ecstacies (1994)  – for voice with Javanese gamelan; parts of the vocal may be sung by a chorus if desired; Text: Rumi (13’36”)

Gendhing Erhu  (1983) – for  Chinese erhu and American gamelan

Gendhing Tala Entangled (2014) – for Javanese gamelan; composed for Gamelan Son of Lion (c. 5'43")

Gendhing Tala Nourishment (2010) – for Javanese gamelan; gendhing bonang style (c. 12'47")

Gending Tala The Wanderer (2011) – for Javanese gamelan with vocal (solo or chorus); text in Sanskrit from the Sri Krishna Karnamrutham (circa 16'18')

Ladrang Yamaloka (1994) – for Javanese gamelan with additional percussion, trompets, suling, and drone instruments

Lagu Pangajabsih (1995-96) – for erhu or violin and Javanese gamelan; based on the Javanese bawa Pangajabsih

Lancaran Wild Swan (1996) – for Javanese gamelan

Mountains and Waters (1992-93) – for Javanese gamelan with voice (may be sung by a chorus or as a solo); Text: Zen master Dogen. (7’38”)

The September Vision  (1984) - for Javanese gamelan, bamboo rattle (angklung), Chinese erhu, and female vocalist; Text: W.S. Merwin

Small of My Back (1990) – for American gamelan instruments, suling, kendhang, and harmonizer (with Jon Keliehor, Signy Jakobsdottir, and Tom Fallat)

Tsuki (The Moon) (2008) – for voice with Javanese gamelan; Text: Zen master Dogen

Thunder River Song (Kali Serayu)  (1994) – for voice with Javanese gamelan


Buffalo Solo (2001) – for female singer with male drone singer (drone singer makes limited use of harmonic singing) – (7’46”)

The Dark Woods (1994) – voice and gender; a short song, usually sung as an opening to Thunder River Song (Kali Sarayu)

Dewa Ruci (1994) – for voice and drone; two short songs usually sung together, the first as a prelude to the other

      body of light, body of fire

      ab lo dolchor qu'al cor mi vai

Goro-goro (2000) – for voice and viola (2'15”)

Listen (2000) – for male speaker with female intoner; female vocalist sings one high pitch as a harmonic “shadow” of the spoken voice; may be accompanied with small hand percussion, such as a string of small bells or small cymbals like xiao-bo rubbed lightly together. (2’50”)

Nothing (2007) – for voice and piano; Text: Lao-tzu

One Night in April (2004) – for voice with keyboard accompaniment; harpsichord in 1/4 comma meantone temperament is preferred; a piano in equal temperament may be used (3'27")

The RainI Am Rain (1997) – two pieces for solo voice; The Rain is usually sung as a prelude to I Am Rain; (circa 3’31”)

Rapt away to Darkness (1999) – for voice with mixed accompaniment (original version with clarinet, violin, and accordion); Text: Susan Howe; (circa 14’45”)

The Stonehouse Songs (1992) – for voice unaccompanied or with accompaniment (original accompaniment on metaharmonium)

      around the summit I only see pines (2’15”)

      beyond the door I made but don't close (2’17”)

      real emptiness is a tranquil sea (2’12”)

      to get to the end the absolute end (2’02”)

      when the red sun bites the mountain (2’25”)

      when mountains are nourished by rain (2’20”)

      Thunder River Song (1990, revised 1991) – for voice and prepared piano

Instrumental Music

Islands (1981) – for piano or harp solo

Islands (1981, 2007) – for guitar; arranged by Graham Banfield

The Moon and Sun are Eternal Travelers (1999) – alto flute solo

         I. Moon (2'07")

         II. Sun (2'16")

A Simple Thank-you (1999) – in memory of Bill Colvig; for small ensemble, instrumentation variable

Simultaneous Broken Symmetries (1990) – duet for vibraphone and piano; in two movements

         I. simultaneity of the ephemeral (6'10")

         II. metamorphosis of the repetitive (4'40")

Septet I: for whoever was to come  (1985) - for flute/piccolo, clarinet, cello, piano, harp, two percussionists (marimba, glockenspiel, vibraphone, four tom-toms, two timpani)

Suite for Clavier (2013) – for piano in just intonation; may also be played in a circulating tuning or equal temperament, but will lose meaningful harmonic subtlety that is present in just intonation; dedicated to the memory of Lou Harrison

         I. flowing and resonating (2'12")

         II. jhalla (3'02")

         III. fast and lively (2'40")

         IV. canon, two parts (3'18")

Suite for Koto (13-strings) (1998) – for koto solo in four movements; also playable on guitar (12 minutes)

         I. prelude (3'07")

         II. an inward memory (3'25")

         III. dissolving (2'43")

         IV. in motion (2'45")

Uluru Wild Fig Song (1986) - piano solo

Music for Percussion

a la Belle Étoile (2010) - for crotales and vibraphone; originally composed as part of the music for the evening length dance piece HOME, choreography by Molly Scott. The title could be translated as "under the beautiful star." I chose the French because the music was for a solo danced by company member Belle Wolf.

Demon Daring Down (2010) – percussion quartet in three movements for various drums, gongs, fingers cymbals, triangle, temple blocks, and wood blocks - 1. vigorous, excited (c. 3'14"); 2. quiet and delicate (c. 5'32"); 3. strong and dynamic (c. 4'32") - dedicated to the Pacific Rims Percussion Quartet

Trance Gong (1990) – percussion quartet for roto-toms and xiao-bo (created with Jon Keliehor, Signy Jacobsdottir, and Tom Fallat)

Two Studies for Two Percussionists (1988)

         I. Talea – 3 tom-toms, 1 low drum, 3 cymbals

         II. Sonata – cowbell, high drum, low tom-tom, bass drum, bongos, woodblock, 2 snare drums

Electro-acoustic Music

Boundaries 1-7 (2001)

       1) 1’13”  2) 1’29”  3) 0’53”  4) 1’44”  5) 0’43”  6) 0’47”  7) 0’48”

Compass (2001)

       Compass 2 – 5’11”

       Compass 3 – 6’24”

Fanfare (1986)

Ghost Voices (1995)

Locate, Part 3 (2007) - 2'27"

Natura Abolita (1993, 2001) – 8’37”

Praying Mantis (2002) – in three movements

       Curve – 7’38”

       Box – 17’58”

       Shroud – 4’55”

Red Voices (1995) – for electro-acoustic media

Substance and Non-Substance, Study No.1, No.2, and No.3 (1986-87)

The Ceremony of Desire (1995)

Tilt (2002) – 8’41”

When I Was Afraid (1997) – for electro-acoustic media and solo voice

With Every Breath (2007) – 5’28”