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I’ve writ­ten music for Gut­buck­et, Bop Kab­bal­ah, Ethel, JACK Quar­tet, Bearthoven, Col­lapse Quar­tet, Sara Schoen­beck, Anti-Social Music and oth­ers. I’m also con­tin­u­ous­ly at work on an expand­ing col­lec­tion of solo gui­tar pieces for myself (four of which are list­ed below). Please con­tact me if you would like to review any of these scores for study or per­for­mance:

Bop Kabbalah+Voices: Es Rirt Zikh/It’s Mov­ing (2019)
song cycle for two female voic­es (sopra­no, alto) and elec­tric gui­tar
I. Gebet (A Prayer)
II. Geyt, Brid­er, Geyt! (Go, Broth­ers, Go!)
III. Mit Eyn Hant, Hos­tu Undz Gegebn Di Kon­sti­tut­sie (With One Hand, You Gave Us the Con­sti­tu­tion)
IV. Ver Tut Stroyen Movern, Palat­sn? (Who Builds Walls, Palaces?)
V. Es Rirt Zikh (It’s Mov­ing)

To Love What Death Has Touched (2019)
solo elec­tric guitar/prepared gui­tar and loop­ing ped­al
Theme music for a twen­ty-minute staged pup­petry work by Kevin White that pre­miered in Brook­lyn, NY at St. Anne’s Ware­house.

Solo Gui­tar Suite:
I. Toad (2016), pre­pared gui­tar and loop­ing ped­al
II. Voices/Noise (2017), steel string acoustic gui­tar
III. Girl is Moon & Sky is Patch (2018), elec­tric gui­tar (with stan­dard nota­tion along­side graph­ic score)
IV. Susurrus/for Vil­la-Lobos (2019), nylon string gui­tar

From the Ash­es Come Our March­ing Orders (2016)
for jazz big band: two alto sax­o­phones, two tenor sax­o­phones, bass clar­inet, bari­tone sax­o­phone, four trum­pets, three trom­bones, bass trom­bone, gui­tar, piano, dou­ble bass and drum set

Future Gen­er­a­tions (2016)
A four-move­ment set­ting of Yid­dish poet­ry by Avrom Reyzen for two female voic­es (sopra­no, alto), piano, elec­tric gui­tar and elec­tron­ics

Sybilline (2015)
solo bas­soon (Sara Schoen­beck)

Car­la Songs (2014 — 15)
I. But What I’m Say­ing Is This: mez­zo sopra­no and cel­lo
II. Inside Her Mind: two bari­tones, vio­lin, clar­inet, piano, pre­pared piano, speak­ing voic­es and per­cus­sion
III. Sto­ry­telling: unac­com­pa­nied vocal quar­tet (SATB)

Shreds./for Michael Brown (2015)
for Bearthoven (piano, dou­ble bass and per­cus­sion)

Bop Kab­bal­ah (2011 — 14)
pieces for the quar­tet of bass clar­inet, trum­pet, gui­tar and drum set
The Cos­sack Who Smelt of Vod­ka; (Con­ver­sa­tion With) Ghosts; Snout; The Syn­a­gogue Detec­tive; After All That Has Hap­pened; Tal­mu­dic Break­beat; Exchang­ing Pleas­antries With a Wall; The Voice That Led Us Here and Then Waltzed/Hobbled Away

Anoth­er World Is Pos­si­ble (2001)
string quar­tet

Gut­buck­et (1999 — 2016)
— pieces for the quar­tet of alto sax­o­phone, elec­tric gui­tar (and loop­ing ped­al), five-string dou­ble bass and drum set
Rock­’n­Roll; Rev­o­lu­tion For Sale; Ornet­te’s Com­put­er Peo­ple; Insects (Sub­trac­tion in St. Louis); War on Drugs; Lib­er­a­tion; Anoth­er World Is Pos­si­ble; Mon­ey Man­age­ment for a Bet­ter Life; Punkass Rum­bledink; Throsp%; More More Big­ger Bet­ter Faster With Cheese; C’Mon It’s Just a Dol­lar; Brain Born Out­side of Its Head; Said the Trapeze to Grav­i­ty (Why Are You So Old?); Muraka­mi; Zero Is Short for Idiot; So Many So Lit­tle; Bounce Clap Shas­ta!