Christopher Bailey

These are the Just Intonation lattices used in my song Act, which you can find on Bandcamp or elsewhere.

As much as older-school composers (or at least, composers who came up before, say, the 90s) decry the ability to playback from notation programs, I have noticed–I guess I have always noticed this but especially recently–playback has shown me that my harmonic rhythm is usually way too fast. I don’t think this occurs to me […]

This is 1 piece in my Dream Sequence meta-work, consisting of a series of large-scale works. (Also including Dream Mornings for orchestra — completed but never performed, Le Grand Guignol for orchestra with 5 conductors — and Radio Dish, which I am now (2022) working on.) A lot of my music, especially from the past 10 […]

Here is an image with a bit of analysis of the pitch structure in Abstraction 6 for Saxophone and Electronics, specifically the opening few measures.  Based on a 9 -voice array.  Which is actually 3 3-voice all-partition arrays in counterpoint  ( 1 for the SHORT sax notes, 1 for the LONG sax notes, and 1 […]

The liner notes to my album Harvest Kitchen can be found here.

Sand is an all-electronics work, but to help me enter all of the notes  into the score(s) for its virtual instruments, I made a full score of the piece.   Each stave is one of the 6 registers for one of the 3 pitched instruments,  as well as some staves for musique concrète sounds and the […]

The Sand Interface is an interactive way of exploring my work, Sand from 2002. You can set up loops, take apart the polyphony in a number of different ways, use it to explore the music, as a weird kind of DJ tool, whatever you like! You can see a demo of how to use it […]

This paper was presented at ICMC 2010.  Sorry it’s in PDF format.

To read about the 19-edo [serial] Array from Sand, please see this web page.

This is an older post, I’ll be moving it into WordPress soon, but in the meantime, you can click to read about the Compositional Process in Timelash .