The Music of Jeff Harrington My music reflects my interest in music as an expression of drama and of dance. Tonal and intensely contrapuntal, it is inspired by New Orleans and classical music traditions. Please Note: PostScript Scores and MIDI files are for perusal purposes only. If you don't have a PostScript printer or would like a program with which you can view and print PostScript files get Ghostscript. It runs on all types of computers and can be configured to be a helper application with Netscape or other WWW browsers. This allows you to just click on a PostScript document and view it from your Web browser. If you've got a Java-enabled browser: Price List for Music of Jeff Harrington Net in Arcadia: Our Virtual Museum Dr. Webowitz: On-Line Shrink (Eliza Comes to the WWW) Net New Music: A Listing of New Music on the Net Net in Arcadia Shareware Windows Screen Savers Linux Java Tips and Hints New Instrumental Chamber Music Pesante ma Secco for Violin and Piano A short one movement piece for violin and piano with a country fiddling meets New Orleans funk feel to it. Kind of like my piano piece BlueStrider in its barbaric approach to classical/jazz syntheseses. Pesante ma Secco for Violin and Piano MIDI file Set Channel 1 to Violin and Channel 2 to Grand Piano PostScript score coming soon! New Electronic Music * Acid Bach Suite: Movement 1 The first movement from a 4 movement suite for quartertone electronic instrument. Composed in 1991, realized 1995 with Csound. Duration: 2 minutes. An exploration of a scale which divides the octave into 24 equal parts. Contrapuntal mayhem! Acid Bach Suite 1 - 1.0 MB MPEG File Only 1 MB but 16 bit sound. Acid Bach 1 - 1.4MB WAV File Acid Bach 1 Tease File - 200k WAV File Check it out before you download the whole piece. The first 10 seconds. Music for Traditional Instruments * Tchoupitoulas Byrd Song for Clarinet and Piano (1993) Messiaen under the influence - of New Orleans Jazz. MIDI File for Tchoupitoulas Byrd Song for Clarinet and Piano Zipped PostScript Perusal Score (580k) * Symphony #2 for String Orchestra Bartok meets Vivaldi meets James Brown! Symphony #2 for String Orchestra MIDI File Set Channel 1 to Pizzicato, Channel 2 to Orchestral Strings. You'll need 32 voices for the blues climax, but 16 voices will get you most of the piece. * KaleidoPsychoTropos for Flute, Clarinet, Violin, Cello and Piano (1995) Intense syncopations, fiery interruptions, mind-bending climaxes... a Gumbo of funk and counterpoint. Score available shortly! KaleidoPsychoTropos MIDI File Set Channel 1 to Flute, Channel 2 to Clarinet, Channel 3 to Violin/Cello, Channel 4 to Pizzicato, Channel 5 to GrandPiano. * Preludes for Piano (1991-95) A Suite of 6 Preludes (more on their way) MIDI File for Prelude 1: An invention. MIDI File for Prelude 2: A Scarlattiesque rip. MIDI File for Prelude 3: A blitz of notes in two voices. MIDI File for Prelude 4: A three part canon; the material foundation of my Symphony. MIDI File for Prelude 5: A commentary on the quiet Scarlatti. MIDI File for Prelude 6: A 3 minute piano composition with counterpoint and funky rhythms galore. PostScript perusal score of Prelude 6 (454,347 bytes) PostScript perusal score of Prelude 6 zipped (102,051 bytes) MIDI File for Prelude 7: A 2 1/2 minute blues meets Scarlatti extragaganza. * Mockingsongbird Soliloquy for solo Oboe (1995) A 5 minute extravaganza of modal tunes and birdlike ravings. PostScript perusal score (550,095 bytes) PostScript perusal score zipped (139,469 bytes) MIDI File for Mockingsongbird Soliloquy * Symphony (1995) A symphony in the grand manner with immense contrapuntal climaxes. MIDI file reduction for a Piano or Orchestral setting (One big track). * Duo Dioscuri for Contrabass and Piano (1995) Dramatic and contrapuntal with a touch of funk. PostScript perusal score zipped (1,023,165 bytes) MIDI File for Duo Dioscuri for Contrabass and Piano. Set Channel 1 to Contrabass, Channel 2 to Piano, Channel 3 to Pizzicato. * BlueStrider for Piano (1994) A virtuoso piano composition in the grand manner. Hints of Fats Waller, Beethoven, Bartok. Not for the faint of heart! MIDI File of BlueStrider (New and Improved!) MIDI File of BlueStrider Version 2 (Users having problems playing the BlueStrider MIDI file, please try this second version. I realize some people are having difficulties and am working on making these files playable by everyone.) PostScript Score of BlueStrider * Piano Trio (1992) A Piano Trio in the tradition of Beethoven and Shostakovich with tons of counterpoint! MIDI File of the Harrington Piano Trio PostScript Score to the Harrington Piano Trio * Gnomos for Bassoon, Flute, and Piano (1994) A funky but macabre combination of counterpoint with R&B inflections. MIDI File Gnomos for Bassoon, Flute and Piano. Set Channel 1 to Flute, Channel 2 to Bassoon, Channel 3 to Piano (New and Improved!). PostScript Score coming soon! * Mercurealities for Flute, Viola and Cello (1994) A flute trio with hints of the classical Stravinsky; tons of counterpoint. MIDI File for Mercurealities for Flute, Viola and Cello PostScript Score of Mercurealities for Flute, Viola and Cello * Solo Violin Sonata in the Classic Style (1987) Solo Violin Sonata using the classical/baroque harmonic language. Movements II and IV are very difficult with Mvt. IV being a gigue of monumental intensity. PostScript Scores: Solo Violin Sonata Mvt. I Solo Violin Sonata Mvt. II Solo Violin Sonata Mvt. III Solo Violin Sonata Mvt. IV * ChawSwizzler for Nine Instruments (1994) A Chamber Orchestra piece in the manner of Dumbarton Oaks meets bluegrass for a contrapuntal HoeDown! PostScript Score for ChawSwizzler for Nonet (WW5 and SQ) * Baudelaire Macabre for Soprano and Marimba (1994) Three Songs with macabre texts(by Baudelaire) referencing the decay of corpses; the way love splatters people's brains; and the possible omelet potential to be found in graveyards; for Soprano and Marimba. PostScript Score for Baudelaire Macabre for Soprano and Marimba If you're a conductor or performer without access to a PostScript printer and are interested in perusal or performance materials or are interested in purchasing scores or parts, please drop me a line. Jeff Harrington Music available as Yamaha SY77 ALL files (sequence embedded in a patch set): ACID BACH: Suite for Quartertone Synthesizer Contrapuntal Monstrosities! Not for the nervous! (Two of the inventions are also found on the MuseNet CD). ACID BACH: Suite for Quartertone Synthesizer SY77 Zipped ALL File Vols de Fees Gushes and cascades of improvised sound. Created with the aid of mouse-controlled MIDI input device. Vols de Fees SY77 Uuencoded ALL File Biography Jeffrey Harrington was born in 1955 in Forest, Mississippi. His mother and father were amateur musicians who played the popular music of the 40's and 50's for fun. In high school he taught himself blues and boogie-woogie piano and built a synthesizer from parts. He began composing when he was 17 and won a composition contest for a serial composition using an isorhythm derived from a Billy Cobham song bass line. Harrington continued his composition studies at LSU and at the Juilliard School where he studied in the Master's program with Elliott Carter and Roger Sessions. He has also studied with Morton Subotnick, Jacob Druckman, Joan LaBarbara, James Drew, Barbara Jazwinski and Deborah Drattell. In 1981 he began a series of compositions using the harmonic idiom of the 18th century with rhythms from jazz and African-American music. In 1987 he returned to a more chromatic style of composition while retaining his interest in melody and counterpoint and the dramatic/developmental processes of the music of Haydn, Mozart and Beethoven. In 1990 he retracted all but a few of his compositions written to date (approximately 100). In 1991 he programmed an expert system in C (inspired by a book by Taniiev - Convertible Counterpoint) which assists him in his discovery of the contrapuntal possibilities inherent in his melodies. The system takes up to 6 tracks of music and determines (using a pre-selected harmonic guideline) the points at which the melodies mesh to produce effective counterpoint. The system produces music files ready to audition in realtime, so he can simultaneously be developing a transition while he produces the next section of counterpoint. If you perform or have questions about Harrington's music please contact him: Jeff Harrington 442 Sixth St. Brooklyn, NY 11215 (718) 965-3780 Home (212) 875-6870 Work idealord@dorsai.dorsai.org jeff@parnasse.com .