All material on this page is made publically available under a creative commons non-commercial license: unrestricted download, copying, redistribution is permitted by the author for non-commercial artistic and educational purposes. Commercial use without explicit permission of the author is not permitted. Rights to these scores are not administered by a third-party collecting agency, and the author advises performers of his work they need not pay any third-party licensing fees.
YouTube Channel | ![]() |
||||||||
SoundCloud | |||||||||
> EDITIONS / INTERVIEWS / RECENT WORK | |||||||||
WORKLIST | |||||||||
solos duos ensemble vocal video writing/research | |||||||||
SOLOS / FIXED MEDIA | |||||||||
top solos duos ensemble vocal video writing/research | |||||||||
etcetera, to witt (2022) after a fragment by Ludwig Wittgenstein |
violin | 4' | ![]() |
![]() |
|||||
False fruit (2021) | guitar | 8' | |||||||
Partite Requiem (2019) | cello | 20' | ![]() |
![]() |
|||||
Etude (2017) | piano | 1' | ![]() |
![]() |
|||||
is land a part (2014) | contrabass and computer | 30' | ![]() |
![]() |
|||||
Swing in sweetest summer (2013) | glissando flute and computer | 15' | ![]() |
![]() |
|||||
2nd WAKE (for Bob) (2009) | Fokker Organ in 31-tone temperament | 11' | ![]() |
||||||
Erbsen (2009) | recorders and prerecorded track | 10' | ![]() |
![]() |
|||||
eudaimonia (2009) composed jointly with Stefan Bartling |
piano | 5' | ![]() |
![]() |
|||||
Hairy Hippy Happy #2 (2008) computer intonation |
sampled and filtered Indian sruti box |
11'45" | ![]() |
![]() |
|||||
wave piano scenery player (2007) Marc Sabat / Lorenzo Pompa |
scenery with paintings, piano, pianist, computer, loudpeakers |
18h | ![]() |
||||||
1. WAKE for JIM | computer-driven acoustic piano | 5' | ![]() |
||||||
2. to Damascus | MIDI-output acoustic piano | 30' | ![]() |
![]() |
|||||
reminded again (2007) music scenery with accordion |
accordion and recorded electronic tones |
72' | ![]() |
![]() |
|||||
reminded again (2007) music scenery with harmonium |
harmonium and recorded electronic tones |
72' | ![]() |
![]() |
|||||
Wonderful Scatter (2005) music scenery with tuba |
6-valve F tuba with valve-sensors computer and loudspeaker |
104' | ![]() |
||||||
from Les Duresses: a book of music in Just intonation (2004) |
![]() |
![]() |
|||||||
1. Intonation after Morton Feldman #1 | violin | 10' | ![]() |
||||||
2. Intonation after Morton Feldman #2 | violin | 10' | ![]() |
||||||
3. Two Commas | violin | 10' | ![]() |
||||||
Artificial Music for Machines (2002) | MIDI-output acoustic piano with live computer generated tuned sinewaves |
11' | ![]() |
![]() |
|||||
John Jenkins (2001/11) | 2 manual harpsichord in Just Intonation | 15' | ![]() |
![]() |
|||||
4 piano inventions (1999) | piano | 9' | ![]() |
![]() |
|||||
For Magister Zacharias (1997) | amplified Steinway piano mechanism | 10' | ![]() |
![]() |
|||||
Air—Spit—Tune (1997/2013) | soprano and optional viola | 8' | ![]() |
![]() |
|||||
Change in your pocket (1997) | amplified bowed string instrument and delay |
12' | ![]() |
![]() |
|||||
Nocturne (1996) | piano | 7' | ![]() |
![]() |
|||||
2 piano studies (1995) | piano | 9' | ![]() |
![]() |
|||||
DUOS | |||||||||
top solos duos ensemble vocal video writing/research | |||||||||
falsche freunde / false friends (2013/2022) poetry/composition/translation Uljana Wolf/Marc Sabat/Susan Bernofsky |
voice counterpoint | 30' | ![]() |
![]() |
|||||
Streams barely in winter (2019) | two violins | 5' | ![]() |
||||||
Plainsound Duet (2018) | any two players | 5' | ![]() |
![]() |
|||||
Part song (2017) | violin and contrabass | 5' | ![]() |
![]() |
|||||
Sei Bach-Intonazioni per Violino Solo, Ia IIa IIIA (2010/19) |
violin with optional 2nd violin bordun |
![]() |
![]() |
||||||
Gioseffo Zarlino (2015) | 2 or more instruments | 30' | ![]() |
![]() |
|||||
Bob Gilmore, Elisabeth Smalt (2015) | violin and viola | 10' | ![]() |
![]() |
|||||
Composition for La Monte Young, February 2010 |
2 players twice the same instrument |
![]() |
|||||||
Tristan, Isolde (2009) | 2 pianos | 2' | ![]() |
![]() |
|||||
Claudius Ptolemy (2008/17) | violin or contrabass and cello | 4' | ![]() ![]() |
![]() |
|||||
November 15, 1935 - Leaving Santa Barbara (2007) based on a sketch by Harry Partch |
solo male Intoning Voice and Violin with spoken voice aside |
6' | ![]() |
![]() |
|||||
wave piano scenery player (2007) Marc Sabat / Lorenzo Pompa |
scenery with paintings, piano, pianist, computer, loudpeakers |
18h | ![]() |
||||||
2. to Damascus | piano and keyboard both playing the same part |
30' | ![]() |
![]() |
|||||
3. wave scenery | duo for computer and pianist | 17h 30' | |||||||
WAKE for JIM (2007) | pianist and player-piano | 5' | |||||||
reminded again (2007) | 2 harmoniums in unison and recorded electronic tones |
72' | ![]() |
||||||
from Les Duresses: a book of music in Just intonation (2004) |
![]() |
![]() |
|||||||
4. Duas Quintas | 2 violins | 15' | ![]() |
||||||
YOU MAY NOT WANT TO BE HERE (after Bruce Nauman) (2000) composed jointly with Matteo Fargion |
recorded voices, prepared piano, electric and/or acoustic violins |
31' | ![]() |
![]() |
|||||
Air—Spit—Tune (1997/2013) | soprano and optional viola | 8' | ![]() |
![]() |
|||||
For Michael Baker (1996) | trumpet, bass drum | 3' | ![]() |
![]() |
|||||
3 Chorales for Harry Partch (1993) | retuned violin and viola | 6' | ![]() |
![]() |
|||||
ENSEMBLE / ORCHESTRAL | |||||||||
top solos duos ensemble vocal video writing/research | |||||||||
To walk in this what came to pass (2022) remembering my grandparent’ flight |
mixed ensemble of 415 Hz and 440 Hz instruments |
10' | ![]() |
![]() |
|||||
Inner voice (2021) | electric guitar, string quartet, electronics |
30' | ![]() |
![]() |
|||||
Streams barely in winter (2021) | string ensemble 6.3.3.3.2 |
12' | ![]() |
![]() |
|||||
Fleeting flight sleeping woke (2021) | Alois Haba's 1/6 Tone Harmonium fl, cl, sax, tbn, vn, va, vc, cb |
12' | ![]() |
![]() |
|||||
Divide (2019) | string quartet or any four instruments |
14' | ![]() |
![]() |
|||||
Seeds of skies, alibis : prologue (2019) |
voices + instruments: alto flute, viola, keyboard, ebow guitar, contrabass, cello, retuned piano |
25' | ![]() |
![]() |
|||||
The Luminiferous Aether (2018) | orchestra | 24' | ![]() |
![]() |
|||||
LIGHT GROUND (2014-), in progress Marc Sabat / Mareike Yin-Yee Lee |
voice, violin, viola, 2 contrabasses prerecorded tanpuras and installation |
70' | ![]() |
![]() |
|||||
Asking ocean (2016) | string quartet and 18 instruments | 48' | ![]() |
![]() |
|||||
Gioseffo Zarlino (2015) | 2 or more instruments | 30' | ![]() |
![]() |
|||||
Surface slips away (2014) | bassoon, cello and steel-string guitar |
45' | ![]() |
![]() |
|||||
Lying in the grass, river and clouds (2012) | chamber concerto for piano and 14 instruments |
35' | ![]() |
![]() |
|||||
Jean-Philippe Rameau (2012) | any three sustaining instruments | 12' | ![]() |
![]() |
|||||
Garden Songs (2009/12) music about a text by Wolfgang Betke |
dobro, alto flute or bass recorder, percussion, prerecorded voice |
9' | ![]() |
![]() |
|||||
ERIK SATIE Vexations INTONATION (2011) | 3 instruments (open) | open | ![]() |
||||||
Kaleidoskop für Gerd Lünenbürger (2011) | string ensemble | 3' | ![]() |
||||||
Euler Lattice Spirals Scenery (2011) | string quartet | 30' | ![]() |
![]() |
|||||
Al naharot Bavel (2010) | contralto, basso, adapted viola, horn, trombone, tuba |
5' | ![]() |
||||||
Hairy Hippy Happy (2006/10) | double horn, tenorbass trombone, 5-valve F-tuba |
15' | ![]() |
![]() |
|||||
String Quartet 2 (Cucumber Variation) (2010) |
2 violins, viola, cello | 35' | ![]() |
||||||
Cucumber Serenades (2009) (Gurkenlieder) |
solo violin, violin choir electronics |
30' | ![]() |
![]() |
|||||
De profundis clamavi ad te, Domine (2008) | viola, adapted viola, cello each player also singing |
8' | ![]() |
![]() |
|||||
reminded of charlemagne palestine (2007) | violin, cello, piano | 25' | ![]() |
||||||
Spectral Canon No. 1 (for James Tenney) (2005) |
12 contrabasses | 10' | ![]() |
![]() |
|||||
John Jenkins (2001/11) | 6 instruments (open), 2 manual harpsichord in Just Intonation |
15' | ![]() |
![]() |
|||||
Johann Sebastian Bach RICERCAR Musikalisches Opfer 1 (2001/11) composed jointly with Wolfgang von Schweinitz |
3 parts (open), computer sounds |
open | ![]() |
![]() |
|||||
‘Hope’ — Gioseffo Zarlino (2000/15) text : Philostratus (the elder) English translation : Christian Wolff |
male and female voices, bass flute, clarinet, violin, viola, cello, piano |
8' | ![]() |
![]() |
|||||
Idyllily (2000) composed jointly with Martin Arnold, John Oswald, Richard Wagner |
11 solo strings and optional voices | 13' | ![]() |
![]() |
|||||
Backyard summer patio (1999) | bass clarinet, percussion, piano | 9' | ![]() |
![]() |
|||||
Three Fleshy Loves (1998) | clarinet/bass clarinet, violin, cello, piano | 19' | ![]() |
![]() |
|||||
Everlasting sweet peas (1998) | 3 violins | 10' | ![]() |
![]() |
|||||
Modernes Kaufhaus (1998/2010) | clarinet/bass cl, trombone, cello, piano | 11' | ![]() |
![]() |
|||||
Trio for piano violin cello (1998) tuned in Just Intonation |
17' | ![]() |
![]() |
||||||
You & Mr Mason (1997) | 11 piano players no previous experience required |
10' | ![]() |
![]() |
|||||
Mein Mantel ist weg (1997) | piano, amplified clavichord, violin, soprano/alto sax, whistling, electric bass |
10' | ![]() |
![]() |
|||||
Quiet Winter (1996) | violin solo and ensemble | 20' | ![]() |
||||||
pier (1996) composed jointly with John Oswald |
ship’s horns | 5' | ![]() |
![]() |
|||||
Beautiful city (1994) | string quartet | 10' | ![]() |
![]() |
|||||
VOCAL / OPERA | |||||||||
top solos duos ensemble vocal video writing/research | |||||||||
HANDS to MOUTHS (2018) Marc Sabat / Mareike Yin-Yee Lee |
fixed media installation female Dhrupad voice, video |
18' | ![]() |
||||||
Seeds of skies, alibis (2017) Prologue and Part One |
6 voices a cappella and electronics |
44' | ![]() |
![]() |
|||||
Al naharot Bavel (2010) | contralto, basso, adapted viola, horn, trombone, tuba |
5' | ![]() |
||||||
Garden Songs (2009/12) music about a text by Wolfgang Betke |
dobro, alto flute or bass recorder, percussion, prerecorded voice |
9' | ![]() |
![]() |
|||||
Father’s suit and watch (2009) Marc Sabat / Lorenzo Pompa based upon the song “House Carpenter” by Clarence Ashley |
video ballet in ten tableaux with Prologue, Entr’acte and Epilogue |
54' | ![]() |
![]() |
|||||
De profundis clamavi ad te, Domine (2008) | viola, adapted viola, cello each player also singing |
8' | ![]() |
![]() |
|||||
November 15, 1935 - Leaving Santa Barbara (2007) based on a sketch by Harry Partch |
solo male Intoning Voice and Violin with spoken voice aside |
6' | ![]() |
![]() |
|||||
New shoes, without laces (1998) text / video : Nicolás Fernández |
female voice, accordion, violin, cello, percussion |
23' | ![]() |
![]() |
|||||
An Opera (1997) based on a text by Emmett Williams composed jointly with Matteo Fargion |
male and female voices, violin and marimba (or clavichord) |
3h 15' | ![]() |
||||||
VIDEO | |||||||||
top solos duos ensemble vocal video writing/research | |||||||||
falsche freunde / false friends (2013/2022) poetry/composition/translation Uljana Wolf/Marc Sabat/Susan Bernofsky |
voice counterpoint | 30' | ![]() |
![]() |
|||||
SEE HEAR (2021) Marc Sabat / Mareike Yin-Yee Lee |
music film | 40' | ![]() |
||||||
LIGHT GROUND (2014-), in progress Marc Sabat / Mareike Yin-Yee Lee |
voice, violin, viola, 2 contrabasses prerecorded tanpuras and installation |
70' | ![]() |
![]() |
|||||
HANDS to MOUTHS (2018) Marc Sabat / Mareike Yin-Yee Lee |
fixed media installation female Dhrupad voice, video |
18' | ![]() |
||||||
Father’s suit and watch (2006) Marc Sabat / Lorenzo Pompa remix : Michael Hynes |
video ballet | 52' | ![]() |
||||||
AUTOMAT (1999/2007) music : Marc Sabat video : Peter Sabat |
music scenery for 2 violins video and field recording |
14' | ![]() |
![]() |
|||||
Three for Magister Zacharias (1997/2002) music : Marc Sabat video : Peter Sabat |
videotaped performance at Skywalker Sound, Marin County CA |
25' | ![]() |
||||||
Change in your pocket (1997/2002) music : Marc Sabat video : Nicolás Fernández DVD realization : Peter Sabat |
videotaped performance at Akademie Schloss Solitude, Stuttgart |
12' | ![]() |
||||||
WRITING / RESEARCH | |||||||||
top solos duos ensemble vocal video writing/research | |||||||||
31-Limit Helmholtz-Ellis Calculator (2021) accidentals and ratios to cents additive synth for microtonal MIDI playback |
Max7 32- 64-bit Mac or PC zip archive 7.2.2021 |
![]() |
|||||||
A Compact Enharmonically Viable Subset of Harmonic Space: The Stern-Brocot Tree and Some Thoughts About Lattices and Spirals (2020) Marc Sabat & Thomas Nicholson |
published in Živá Hudba 220/11 7.6.2021 |
![]() |
|||||||
The Helmholtz-Ellis JI Pitch Notation (2020) revised symbols for primes up to 47 entirely based on alterations of Pythagorean notes |
legend and harmonic/subharmonic series | ![]() |
|||||||
The HEJI2 Font (2020) cross-platform Unicode opentype fonts for microtonal JI accidentals |
zip archive 7.2.2021 2020 update of the symbols |
![]() |
|||||||
Farey Sequences Map Playable Nodes on a String (2019) Marc Sabat & Thomas Nicholson |
published in Tempo Vol. 74 No. 291 January 2020 |
![]() |
|||||||
Relative Dissonance (2019) on my music for string quartet |
published in MusikTexte 163 (English and German) |
![]() |
|||||||
Well temperament revisited (2019) two extended JI tunings for two keyboards a quartertone apart |
published in Xenharmonikon 2019/06/27 |
![]() |
|||||||
Fundamental Principles of Just Intonation and Microtonal Composition (2018) Marc Sabat & Thomas Nicholson |
![]() |
||||||||
Introducing my work in microtonally extended just intonation (2017) |
published in Ostrava Report 2017 | ![]() |
|||||||
Three Tables for Bob (2016) | published in Tempo Vol. 70 Issue 278 | ![]() |
|||||||
Euler lattice with sruti regions from D — a map of 23-limit harmonic space (2016) |
published in Tempo Vol. 70 Issue 278 | ![]() |
|||||||
Some 23-limit enharmonic proximitites (2016) | published in Tempo Vol. 70 Issue 278 | ![]() |
|||||||
53-tone 5-limit Euler Lattice (2011/16) | published in Tempo Vol. 70 Issue 278 | ![]() |
|||||||
Pantonality Generalised: Ben Johnston’s artistic researches in extended just intonation (2014) corr. 2018 |
published in MusikTexte 144 and Tempo Vol. 69 Issue 272 |
![]() |
|||||||
Shadings in the Chromatic Field (2012) | published in MusikTexte 133 | ![]() |
|||||||
Stay Still / Still Stehn (2011) | published in Positionen 89 | ![]() |
|||||||
Some Reflections About Sound, Music and Art (2010) |
published in Positionen 84 | ![]() |
|||||||
On Ben Johnston’s Notation and the Performance Practice of Extended Just Intonation (2009) corr. 2018 |
monograph for Ben Johnston and Sylvia Smith |
![]() |
|||||||
An algorithm for real-time harmonic microtuning (2008) |
paper presented at the congress on Sound and Music Computing |
![]() |
|||||||
Three Crystal Growth Algorithms in 23-limit constrained Harmonic Space (2007) based on an article by James Tenney |
published in MusikTexte 112 and in Contemporary Music Review (vol 27 part I 2008) |
![]() |
|||||||
Towards an Expanded Definition of Consonance: Tuneable Intervals on Horn, Tuba and Trombone (2006) Marc Sabat & Robin Hayward |
![]() |
||||||||
Double Horn in Bb and F: tuning in Just Intonation (2005) |
![]() |
||||||||
Natural Harmonics on Cello and Violin (2005) | ![]() |
||||||||
23-Limit Tuneable Intervals above and below A (2005) Note: in 2020 the alteration ratios for 17 and 29 were redefined and additional symbols were added; please see above for a current version of the notation. |
![]() |
||||||||
The Harmonic Series 1-64 (2005) Note: in 2020 the alteration ratios for 17 and 29 were redefined and additional symbols were added; please see above for a current version of the notation. |
![]() |
||||||||
The Extended Helmholtz Ellis JI Pitch Notation English text (2005) Deutsche Fassung : Natalie Pfeiffer Note: in 2020 the alteration ratios for 17 and 29 were redefined and additional symbols were added; please see above for a current version of the notation. |
![]() |
||||||||
Helmholtz Ellis JI Pitch Notation Introduction and Simple Legend (2005/9) original version with accidentals up to 23-limit Note: in 2020 the alteration ratio for 17 was redefined and now modifies a Pythagorean augmented octave Marc Sabat & Wolfgang von Schweinitz |
![]() |
||||||||
Helmholtz Ellis JI Pitch Notation Full Legend (2005) original (now deprecated) version with accidentals up to 61-limit Marc Sabat & Wolfgang von Schweinitz |
![]() |
||||||||
Johann Sebastian Bach RICERCAR Musikalisches Opfer 1 INTONATION : an experimental application of Extended Rational Tuning (2003) |
![]() |
||||||||
top solos duos ensemble vocal video writing |