Christopher Bailey

For my song(s) for piano, bassoon, and voice, I chose to intertwine 2 poems about fog by Sara Teasdale. Shown here is the intertwining as deployed in the song:

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.