|
|
| 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 grandparents’ 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 |
|
Chords, melodies: a look at harmony by numbers;
Tuning Bach (2024) |
|
doctoral presentation
Sibelius Academy Helsinki
Organo, Musiikkitalo |
|
|
|
|
|
|
|
|
Chords, melodies: a look at harmony by numbers;
Part I: Using harmonic radius to compare
rational pitch collections (2024) |
|
published in Živá Hudba 2023/13 |
|
|
|
|
|
|
|
|
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 2020/11
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 |