Christopher Dylan Bailey

composer

While working at I-Park this past summer, I finished an ambient application-work called Thanksgiving, a dark, haunting piece with texts by Chicago-based writer Molly Thorsen Connolly. (Written for a concert of Untwelve.) If you are a Macintosh user, you can download the ambient app directly, and run it to your heart's content. If you aren't a mac user, you can hear some audio here. The voices in the piece are of Adrienne Hecker and Loren Schwerd. I try to mostly write pieces for specific performers who will play them. But occasionally I stray from the practical into a land of visionary possibility, and write things without knowing who will play them. Here are some recent pieces that I'm looking for performers for: Dream Mornings. This is a vibrant orchestra piece, not too hard, though for a big ensemble (I think it's arrangeable for a smaller one if that would interest you). Mask of Mandragora for 3 percussion. Lots o' textures and colors. Setup and score. Trio (Intro, Part I, and Part II), for clarinet, cello, and piano. A big (40') luminous work, a partner work of Ooogaaah, Dungeony Specimen Spaceship and Conceptual Study, which can be found complete (those were excerpts) on the EMC album Defiant. Castrovalva (notes and score) for string orchestra. And, although it's crappy as would be expected, even the MIDI demo sounds pretty awesome. Imagine it with real instruments! Movement for string orchestra. (score and MIDI demo). (this MIDI demo is slightly better than Castrovalva, but oh, how one longs for the real thing.) This is kind of an homage to the high chromatic tonality of late Mahler, early Schoenberg, Webern, Berg. Meditation 3 for solo piano, inspired by some Brian Eno and Harold Budd ambient/new-age music. Leo's Music for toy piano. It's cute, short and sweet. In 2007, I released an album of piano music, featuring my works Balladei and Sonata, fantastically performed by Shiau-Uen Ding, and Jacob Rhodebeck. You can purchase it here. The interface to Sand, should be working. Try it out. The old .mp3s and essay writings are all still there. I was part of a competition in Korea, and was asked to talk about my work Timelash, (an old recording--the piece has been revised since); that talk is now online. The Electric Music Collective released two albums, Incandescence, which features my works Ow, My Head and Duude, (purchase it here), and Defiant, which features my works Ooogaah: Dungeony Specimen Spaceship, and Conceptual Study, and is also available for purchase from Amazon.com. Try my web-based app with which one may write a score in any tuning system, and the app will spit out a Standard MIDI File. Check it out here. If you'd like to chat, drop an e-mail to chris @@a@t@ music.columbia_ddott_edu. (Ye who are not spam-bots, translate that appropriately. . .)

Professional Info (CV, List of Performances, etc.) App for converting a score of music written in any tuning system into a Standard MIDI File. About Sand, an acousmatic piece with listener-interface (dissertation) Listen to MP3's of CB's music. list of compositions A Post-Romantic Chromatic Canon-Maker advice for listeners new to "New Music" some score page eye-candy (or eye-garbage?): Dein Kuss Megalomaniac Untitled 1994, for piano solo. Urban Fountain. An Installation for MAX/MSP and video. tutorials (explanatory material written for Bailey's students): music-composition: general De-mystifying Tonal Counterpoint, or Getting Past Your Fear of Composing. (Written for my tonal harmony/counterpoint students, to get 'em writing free tonal composition exercises without fear.) (1998) Getting over the Fear of the Arbitrary or "So Now I've got a pre-compositional structure, what do I do with it?" (2001) an array construction example. computer-music. Older stuff: (Some general stuff here, but mostly specific to courses I co-taught at the Columbia Computer Music Center and at (CCM)2. This stuff was written in 1997-9, and so, as one might expect with technology-related documentation, it's all completely out-of-date, especially with regard to not including the latest aspects of RTCMIX (version 4). Hopefully, you can get some general principles out of it, as well as get a sense of my teaching style. I am planning to re-write most of these in the near future. Introduction to CMIX (1997-8) Tutorial on Writing Algorithms (1997-8, updated 2003) Help with the Columbia CMC UNIX System (1997-8) Computer-music modelling topics (1999): Drum loops and streams modeling metallic sounds: gongs, tam-tams, and bicycle spokes