Crest is a music and video collaboration between Adriano Capizzi a.k.a. Metunar and me. We decided that a good starting point might be to take something old and unfinished that seemed like it had potential, but was just sort of stuck.

I dug out something I had started 20 years ago (the first few seconds of the piece) and we started adding on a little every time we sent files back and forth. Using Dropbox and Ableton Live Lite, we each used our preferred methods of music writing to add to or change the other’s ideas. Being across the world from one another, if each of us worked on it a little each day, we could both get up in the morning to find more music added to the project. Communication was done almost entirely through Dropbox Paper, which was much easier than checking emails. It was also nice to use a system integrated with the files themselves.

I used Sibelius to score what I wrote, which made it that much easier to share with Joshua Weinberg (flute) and Tyler Neidermayer (bass clarinet) of Apply Triangle when they graciously agreed to donate their time to playing on this project.

I constructed a single marimba key to play the repeated A♭. It was probably excessive, but now I know why marimbas are so incredibly expensive.

When the music was done, I wanted to make a video in the style of Metunar’s previous videos. He suggested that instead of doing a whole new collaboration on the video, we share the videos and images we had to each create our own. My two older kids helped with making the videos, which were shot in the middle of a field in Knoxville, on a camping trip in Cades Cove, and on a leisurely drive through Gatlinburg. I used Magic to create my visuals and an ancient copy of Premiere for the editing.

We decided from the beginning that the music would be freely available, so you can add it to your playlist from Spotify and YT Music.

The name Crest comes from the double meaning of the word: an escutcheon and a mountaintop, which I think comes through nicely in the music and the videos.


Jeweler by Design is a small, independently / family -owned custom jewelry shop in Moreno Valley. They do great work, which can be seen at the JBD website. JBD wanted music on the site, so I wrote ‘gems,’ in the playlist on this page  (…which is no longer being used).

This piece was rendered using Garritan Personal Orchestra.

flight plan

flight plan 2006-04-23

flight plan was a collaborative piece with mikeal stevens as a part of his master’s thesis at the memphis college of art and design. mikeal’s thesis, which you can find on his website, addresses the flow moment, when one is so focused on what one is doing, time becomes meaningless. for both of us, this happens during art production. also, mikeal experiences this during skydiving, whereas I experience this during music composition.

flight plan combines art, music, skydiving, and collaboration itself: during the performance, performers were tethered to my fingers via strings which resembled parachute cords. these cords operated the elevators on the wing system mikeal constructed and wore for the piece. there was a literal link between us during the piece.

vector 74

Vector 74 was going to be a side-scrolling space shooter. I wrote this music to be used for the title screen but never saw any actual work done on the game.

the four-fold demon

four-fold demon album art

the poem the four-fold demon was written by Daniel Hayes in 1995. it was read along with the music he asked me to write for it in 1999 as part of his undergrad senior presentation at Maryville College.

the music buttons interspersed throughout the poem indicate when they should be listened to while reading the text.

4fd recording

the mp3s below are rendered from a Roland SC-255. the music is that used in the 1999 performance, and appears along with the text.


the beastthe priestthe mystic poetdemon iv


sexdrugsrock & roll
The American Trinity
Justice for all
and to all a good night
He knows man, he knows
pimp, prophet, parasite
He won’t kill you, only
	brainwash you
with a little down time
poet, phool, promiser
He always keeps the
word he never gave
He is what he claims to be, 
	indefinable but
Roving step son of 
a spined Roman Consul

Shunned but with great intellect
	seeking the keys to the garden
gates past the

Songs of Roman passion are
his gripping
teeth’s forté
He’ll take things his own way
	He knows man, he knows


Come out now child

No more dreary daydreaming
In the roots of your mind
Come out with me and they
Those demons in your heart
Let them run and jump 
Amongst the craggy foothills
And cask filled fields
Forget what you know 
Your cells know more
Forget the god you’ve been
taught and the one you’ve
Let go of family and friends 
So that you might be free
And unchained to lay
On the white bed with pillars

Your day's meal will be my
kisses and your dreams will
be filled with my freeing
White sheets will tangle 
Around your soft thighs 
Like my love around 
your heart
Come and let us roll 
on soft as dove’s feathers
pillows and let it all 
go and flow from the 
primal corners of our souls

No more foolish trying or hope
We will do and live and
die and rot and be reborn
all in the twinkling of 
an eye and the demons 
will sing our song of
wasted motion to the 
tune of the fool’s anthem
Can you hear it? Beginning 
softly. Can you hear it?
I can, so come with me ,come
with me

the spinning cycles of the mind
sometimes cue on man’s divine
the little piece that like a prism
reveals always the demon’s schism
For if the four are in the one
then the beast must sometimes
	have his fun

I guess you’d say, "a gremlin
with a loose leash," but I’d
say, "A red faced demon in a
three piece suit." He knows
man, he knows and he lives
inside death’s wasted motion throes.

I rode my horse from forests deep
Where under heavy mists I’d sleep
And seek to strain my eyes to see
The pulsing vein of eternity
Where there all men would 
Bathe in blood
And sins released rise from
the mud
And stand upon the mountains high
And with a gesture command the 
But as I’d stumble through the 
Leading quite blindly wherever I 
The only veins that bled were 
my own
And no son of God’s on his son of
God throne
For the blood he’d bled was in my
And on my tattered clothes was
its holy stains
And if in my body then why not 
For surely we can see The Truth
of The Fall…surely, surely, 
surely…we can
listen on the wind.
listen on the silence.
listen to the men
and past all their lonely violence

for there is more to man
than imperfection
and there is less 
than divinity
something indefinable
but tangible
	deep and warm
		soft and old
Stone cold truth.

The Bride of Truth wears a velvet
Lift and embrace in the bridal 
chamber the beautiful mate.
Two are one and one is all.
Pierced or removed the veil becomes
clear. What lies beneath is 
something harsher than sand,
smoother than glass, stronger
than the steel of a thousand
skyscrapers reaching towards
the cage dome of the stars
each point is a joint, an 
intersection where infinite
impacts occur to a constant
jungle rhythm. Enticing
and enticed. "Lift me," it says,
"I want to ascend with 
your right hand oh Earth 
God. Gaze on me and the 
seer and the seen will
make what is now lived in 
and on. Earth and a thousand
others, constructing a cage 
dome of stars penning in 
the question from the answer.

Me to you is everything
	And the same as nothing
Without straining to hear
	Your invitation
And my acceptance
Make me real ancient veil 
	Velvet in texture and 
Together we will employ
Even the Elemental
	to do our
If we knew what we wished
Make me real 
Caresses and kisses
Almost there
	Winning over eternity
		to my side
			and its own
Two are one and one is all.
From a wet dream forms the 

Touching, yes, even that
is amazing in form
Rapid frictions against 
the air producing no reaction
Intent is everything
Hold me close veiled lover
I wonder, do you close your eyes
when we kiss? I do.
I close my eyes to the Bride of
And when they reopen themselves
I can’t help wondering if I
missed something I shouldn’t 
Are your eyes opened love?
Are your eyes open?


The past and future unite to 
	form time and time forms
Past, future, both depend upon
	perception’s bobbing anchor
	for substance
In the realm of the real
	and the sacred and the
	green there is only now
A shining tree sentinel
	growing towards life
			Are you?
There is only now

Vagrants eyeing pockets
And kings eyeing paupers
Perfectly inverted
in their matchbox foreplay
of slaughter and cycles
Perception will not hold.
	past, scrutinized
	future, unsure
Both the same shadows
of now
	and now
Souls measure events
	in tree rings
Fruits of our labors
Growing towards life.
Who are you?

We study illusion
to understand ourselves

Sweating hands holding
clocks, ticking metal 
hands without moisture.
Slavery and religion
No chants, only obedience
Placing hands in pockets
Dry now, soft metal
hands free to work
in fever dreams,
murder scenes, vagrants
and kings
Dry now and sane and slow
Minutes move themselves

I look through the 
one I cannot see and 
A great now appears
to me
and again, but new
and always now.

alternate 4fd mp3s

the mp3s below are rendered from a Roland SC-255. these pieces were written with the intention of doing a longer studio recording of the poem and music.

[ti_audio name=”the four-fold demon tape version” height=”120″]

brutal ground

Brutal Ground was basically going to be an RPG. I started work on it after meeting the developer over the internet. This is as far as the game got.

legend two

legend two music

legend two notes

legend two is orchestrated for the following 18 instruments:

  1. recorder
  2. flute
  3. oboe
  4. bassoon
  5. clarinet
  6. horn
  7. guitar (nylon strings)
  8. harp
  9. harpsichord
  10. piano
  11. hammond organ
  12. xylophone
  13. vibraphone
  14. marimba
  15. tubular bells
  16. taiko drum (or any low, pitched drum)
  17. timpani
  18. contrabass

01-04, 08-13,15-16, 19-20 are connected, with no pause in between movements.

legend one

Musical accompaniment is now written for many visual formats. Most of these formats (opera, movies, video games) tell a story; the music serves as a backdrop for the story.

The aim of the legend musical form (legend in the story-telling sense) is to re-invent this process: if music can be written as a supplementary element of an audio-visual story, why couldn’t the music be written first, leaving the story up to many possibilities?

Legend One, titled ‘July,’ is the first of hopefully several implementations of this form. It is a large work for chamber orchestra (instruments shown in as tags on this page) in 26 movements and is about an hour and fifteen minutes long. It is what I think of as post-minimalist, with each movement featuring only a few instruments.

The image is an illustration of the form of the piece in terms of theme.

the seven-sided box

seven-sided box music

the seven-sided box

the poem (or whatever a non-writer like me is allowed to call a bunch of words such as this) was written in 1999 in response to heavy rainfall in bright sunlight. the music was written between 1999-2002. each movements is a side of the box.

the seven-sided box text

	the sun was shining
	but there were clouds
	it came down
	and he came down
	I said, 'hey, man, what am I supposed to do with this seven-sided box?'
	I didn't notice what I was saying at first
	so he didn't really tell me
	or maybe I didn't understand
	he wasn't a man, though
	but he didn't really tell me
	so I'm not really sure what the deal is with the seven-sided box
	he said I could use it with friends
	he said if I listened
	he said this is the seven-sided box
'well, I can see that'
	the clouds passed
	and he said you got any friends?
	I just wanted to know what it did
'what's it for?'
	so I said I know people
	but he said, come on, everybody's got friends
'my, what big eyes you have'
	that's not the way it works though
	clouds and sunlight
	not everybody
	he said you must be a friend to somebody
	I just wanted to know
	I tried to listen
	when it came down, sounds could be heard
	some things were clear
	but what was the deal with the seven-sided box?
	there's always a side you can't see, isn't there?
	what is it for?
	huge eyes, I tell you
	he said he had all day
'of course I got friends'
	that's a strange number of sides for a box to have
	he wasn't from around here
	I got a few friends, anyway
	he said he was
'you'll be here for quite a while, won't you?'
	I gotta go get my friends
	he said there's always a side you can't see
	no, but really, I have good friends
	they listen
	not as sunny, but lighter
	and that's not really the way it works, but I think he knew that
	he said here, learn the seven-sided box
	not a man
	he said I could already hear it
	the seven-sided box
'what is it for?'
	listen with your friends
	more light
	listen to your friends
	more light
	it's harder to make a decision when you can't see every side, but I doubt that was the point
	listen lighter
	everybody knows people
	he said you already kind of listen
	the important part really is wanting to listen
	out of the sky, he didn't just walk up to me
	or through the sky
	or from the sky
	the guy was tall

the seven-sided box recording info

this piece was scored with sibelius and rendered using gpo.