This page contains short excerpts of my music, all drawn from longer pieces. If you like what you hear, contact me to order a CD for $12. Eventually I will have a secure ordering mechanism, but for now, just send me an e-mail.

All excerpts are in .mp3 format, 128 kbps joint stereo. Click the disc icon to listen. Items missing an icon are forthcoming but not available yet.

If you have any comments on this music--love it or hate it!--feel free to send an email.

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Works in SuperCollider
14.29 13.3MB You are already on the far shore (Eric Pritchard, violin; James Harkins, composer/electronics) -- The premiere of a through-composed piece for violin and computer, with some algorithmic elements but less interactivity than most of my SuperCollider work. (Automating the transitions in the electronic parts was a different challenge from live control, but still a challenge.) Many thanks to Eric for an energetic, thoughtful performance! This couldn't have happened without his deep engagement in the work.
9.07 8.4MB Sangha flower (James Harkins, xiao flute and computer) -- A new performance, just given at the Shanghai Conservatory of Music as part of their fall New Music Week. Some new sections are included.
5.27 5.0MB Live in Pershing Park (dewdrop_world, xiao and electronics) -- An excerpt from my 8 September 2007 performance in Pershing Park, Washington DC. It begins in the middle of a new track and proceeds into a new, heavily revised performance of Sangha Flower.
3.09 2.8MB Got an itch to scratch (dewdrop_world, flute and electronics) -- (excerpt) I played this piece at Duke University in April 2007. This go-round fixes some technical glitches in the older performance from Birmingham.
7.23 6.8MB Xiphidiopicus percussus (dewdrop_world, electronics) -- This piece began as part of the "Project Runway" series of technical studies, but grew into a witty examination of very fast and very short notes worthy of promotion into a freestanding work. Xiphidiopicus percussus is the scientific name for the Cuban woodpecker and refers to the insistent and impossibly fast percussive attacks.
4.14 3.9MB Sangha Flower (dewdrop_world, xiao and electronics) -- Presented on the occasion of the 8th Anniversary of the Mindfulness Practice Center of Fairfax in Oakton, VA, 28 October 2006. This piece uses granular synthesis based on xiao flute samples recorded live during the performance.
7.23 6.8MB Runway2 (dewdrop_world, electronics) -- Second in the "Project Runway" series. This is based entirely on 327 fragments of 1/20s each, isolated from a copy of the original field recording that had been de-noised in Amadeus. I analyzed the fragments for sonic similarity and composed this using the analysis results for the faster material.
4.00 3.7MB Runway1 (dewdrop_world, electronics) -- First in a series of one-week challenges to produce a sketch quickly under severe constraints in terms of material and technique. This track is made entirely of fragments of a field recording I made in Dupont Circle, Washington DC. All production work was done August 18-26, 2006. Named "Runway" after Project Runway, which faces fashion designers with similarly perverse challenges.
4.15 3.8MB Lament (Beijing MusicAcoustica mix) (dewdrop_world, electronics) -- An excerpt from my performance at the MusicAcoustica 2005 : Mix conference, held at the Central Conservatory in Beijing, China. Photo
8.36 7.8MB Now is your only chance (dewdrop world, electronics; Chris Adler, piano) -- This one is a complete piece, performed in Philadelphia on March 16, 2004. A live improvisation, prepared for a concert of sacred 20th-century piano music, organized by my friend and colleague Sidney Boquiren. A few mistakes, but also some lovely moments.
1.46 1.6MB scelectro (dewdrop world, electronics) -- from my first ever SuperCollider performance. A little rough around the edges, but not bad at all. I continue to practice this piece, and when I have a better performance in hand, I will replace this excerpt.
Recordings
3.41 3.3MB Mahboonkrong encounter (dewdrop world, di and electronics) -- Sweet and melancholy notes from the Chinese flute blend with atmospheric electronics. The last half, excerpted here, palpably slows down the hearer's breathing.
2.24 2.1MB Laghoe dindang (dewdrop world, electronics, with samples of Balinese singing and drumming) -- straight-ahead techno with Indonesian flavor. It works so well you wonder why it hasn't been done more often. This excerpt leads up to the climax.
3.41 3.3MB Candle dance (Butsingkorn Panupong, so-duang; dewdrop world, electronics) -- my friend Bruce played this Thai folk tune on his so-duang (a Thai fiddle much like the Chinese er-hu), and I was immediately captivated. Later, he recorded it onto my computer and I built this lively, jazzy accompaniment around it. Later in the piece, his playing gets sliced-'n'-diced into a new, jazz-improv solo and the harmony strays pretty far from home. The whole track is 12.5 minutes of my finest work.
Student works
3.28 3.1MB Burundi rave (dewdrop world, electronics) -- A first foray into world-beat music. Some samples of Burundi drumming were made available online as part of a remix contest. I didn't win, but I like what I did anyway.
2.32 2.3MB Wedding piece (dewdrop world, electronics) -- originally written as an organ piece for my brother's wedding in 1997, this ambient electronic reworking draws out its darker undertones.
Illusory marginalia (an unnamed, ad hoc vocal group formed for this performance) -- my first step in breaking my music out of the concert hall by writing a completely portable piece. Only four singers are needed, and the style is such that it could be performed nearly anywhere.
January 1995 (the Ciompi Quartet, Duke University) -- the last nail in the coffin for my prior flirtation with modernism. I wrote this simple, gentle piece in C major and never looked back. Years later, it still speaks to me from the very first note.
3.13 2.9MB Brightening (dewdrop world, electronics) -- this short excerpt from near the end of my doctoral dissertation composition shows off my breakbeat-manipulation skills at their maddest. The off-kilter syncopations of the cut-up breakbeats go so far as to affect the meter in Stravinskian ways. The climax still thrills me.