Official website of composer Jordan Dykstra | ||||||
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RECENT WORK | ||||||
TITLE (YEAR) | INSTRUMENTATION | |||||
Memory Flex (2020) | 2 keyboards, crotales/drum set | 4'42" | ||||
Dirty Machines - "The End of History" (2020) | composer, viola, mixing, recording engineer | 13'34" | ||||
Into the Silver Ether (2020) | composer, music editor, recording engineer, church organ, percussion, electronics | 6'02" | ||||
Prism of Eternal Now (2019) | open ensemble of 2-6 players | 20' | ||||
Pitch Gradient with Noise #6 (in Bb) (2019) | harp, flute, oboe, 2 vibraphones, accordion, 2 violas, cello, 2 double basses, and electronics | 21' | ||||
The Arrow of Time (2019) | grand piano, hand-crank siren, fixed electronic playback | 22'30" | ||||
32 Middle Tones (solo) (2019) | soloist with electronic playback | 21' | ||||
32 Middle Tones (2019) | string trio and 2 percussion | 21' | ||||
Push and Believe (2019) | voice, playback, live and pre-recorded electronics, objects | 30' | ||||
Natural Whine Incident (2019) | voice, playback, 5 types of chardonnay | 60' | ||||
Go Further (2019) | keyboard with heavy effects, car horn | 12' | ||||
A Zone of Twilight (2019) | bass flute, alto saxophone, bassoon, 2 violins, viola, cello, double bass | 12' | ||||
Blow the Man Down (2019) | composer, arranger, music editor, recording engineer, prepared piano, percussion, electronics, viola | 90'00" | ||||
Hail Satan? (2019) | featured composer, arranger, music editor, recording engineer, viola | 95' | ||||
ABSTRACTS^back to top | ||||||
TITLE (YEAR) | INSTRUMENTATION | |||||
Well Intended (2016) from the album sundries |
open | open | ||||
Inner Sound (2016) from the album Is Land a Voice |
open | open | ||||
A Line & Chevron (2016) | open | open | ||||
Found Clouds (2016) from the album Found Clouds |
open | open | ||||
SOLOS^back to top | ||||||
TITLE (YEAR) | INSTRUMENTATION | |||||
The Arrow of Time (2019) | grand piano, hand-crank siren, fixed electronic playback | 22'30" | ||||
32 Middle Tones (solo) (2019) | soloist with electronic playback | 21' | ||||
Push and Believe (2019) | voice, playback, live and pre-recorded electronics, objects | 30' | ||||
Natural Whine Incident (2019) | voice, playback, 5 types of chardonnay | 60' | ||||
Go Further (2019) | keyboard with heavy effects, car horn | 12' | ||||
The Octavation (2018) | voice, percussion, objects, electronics | 30' | ||||
9 Found Clouds (9x1) (2017) from the album Found Clouds |
struck and bowed vibraphone | 6'30" | ||||
Within, Outside, and Beside Itself: The Architecture of the CFA (2017) | amplified voice with electronics, stone with harmonizer | 17' | ||||
Beyond Form (2017) | 1 performer: viola, piano, harmonica, pitch pipe, percussion, and electronics | 180' | ||||
The Indifference Tone: A ritual for intoning and untoning (2017) | amplified voice with electronics, adjustable pedestal, MIDI-controlled organ, fixed media playback | 12' | ||||
Four Found Clouds (2016) from the album Found Clouds |
pedal harp with EBow | 20' | ||||
Well Intended (2016) | metal and pitch intender | open | ||||
Seven Found Clouds (2016) from the album Found Clouds |
plucked grand piano (in any tuning) and EBow | ca. 40' | ||||
Horn No. 1 (2015) from the album Three Horns |
air horn and sinewave | 4'04" | ||||
Horn No. 2 (2015) from the album Three Horns |
air horn and sinewave | 6'04" | ||||
Horn No. 3 (2015) from the album Three Horns |
air horn and sinewave | 3'23" | ||||
Phonography (2014) from the album Phonography |
20 field recordings | 46' | ||||
High (2012) from the album pianodrones |
grand piano | 8'42" | ||||
Mid (2012) from the album pianodrones |
grand piano | 4'40" | ||||
Low (2012) from the album pianodrones |
grand piano | 16'51" | ||||
DUOS^back to top | ||||||
TITLE (YEAR) | INSTRUMENTATION | |||||
Memory Flex (2020) | 2 keyboards, crotales/drum set | 4'42" | ||||
Invisible Ink (2018) | viola, reed organ, synthesized bass pedals, percussion | 10' | ||||
Ghosting No. 1 (2017) | viola, vibraphone | ~7' | ||||
Two Lines & One Chevron (2017) | 2 pitch pipes and amplified sine-tones | 20' | ||||
Orbits (2016) | sheng or shō, violin or viola, sine-tones | 16'20" | ||||
A Calf and a Bull: Dúett fyr lágfiðla og nautfiðlu (2014) | viola and contrabass | 10' | ||||
CHAMBER ENSEMBLES^back to top | ||||||
TITLE (YEAR) | INSTRUMENTATION | |||||
Prism of Eternal Now (2019) | open ensemble of 2-6 players | 20' | ||||
Pitch Gradient with Noise #6 (in Bb) (2019) | harp, flute, oboe, 2 vibraphones, accordion, 2 violas, cello, 2 double basses, and electronics | 21' | ||||
32 Middle Tones (2019) | string trio and 2 percussion | 21' | ||||
A Zone of Twilight (2019) | bass flute, alto saxophone, bassoon, 2 violins, viola, cello, double bass | 12' | ||||
The Toy Universe (2018) | electric guitar, vibraphone, violin, cello, 4 percussion, live-mixing of pre-recorded and live-producing electronic noise sources | 61' | ||||
Pitch Gradient with Noise #5 (in A) - 4 hour version (2018) | An ensemble of sustaining instruments | 240' | ||||
In the Snow (2018) | string trio | 20' | ||||
Lead by Reinforcement (2017) | open-instrumentation | open | ||||
The Universe Was Orange (2017) | static stone noise and deviation | open | ||||
Ghosting (full score) (2017) | for a variety of ensembles | ~7' | ||||
Ghosting No. 2 (2017) | 2 violas, reed organ | ~7' | ||||
Ghosting No. 3 (2017) | 2 violas, vibraphone & pedal synthesizer (1 player), reed organ | ~7' | ||||
Pitch Gradient with Noise #4 (in D♮) (2017) | 2 brass, 2 percussion, 10 bowed string instruments, and sine-tones | 30' | ||||
Sounds as Brilliant (2017) | for an ensemble | 46'30" | ||||
Pitch Gradient with Noise #2 (in G#) (2017) | clarinet, percussion, grand piano, 3 bowed string instruments, and sine-tones | 11' | ||||
The Psychological Future (2017) from the album The Psychological Future |
an ensemble of gamelan and strings | 23'50" | ||||
Four Horns (2016) | 4 air-horns in 2 duets | 1' | ||||
Three Lines & One Chevron (Another Algorithm for Unification) (2016) | 4 sustaining instruments capable of glissando | open | ||||
A Line & Chevron (for Agnes Martin) (2016) | cello, sine-tone, accordion, melodica | ~20' | ||||
Pitch Gradient with Noise #3 (in A#) (2016) | 3 percussion, accordion, bassoon, guitar, marimba, 3 bowed strings, and sine-tones | 24' | ||||
A Known Unknown (2016) from the 2018 album A Known Unknown |
percussion, grand piano, electronics | 60' | ||||
Pitch Gradient with Noise #1 (in F#) (2016) | 2 percussion, 2 grand pianos, 2 guitar, 4 bowed strings | 22'30" | ||||
Chimes Nine Times (2016) from the album Chimes Nine Times |
7 electric guitars, 7 violas, sine-tones, clock | 54'23" | ||||
A Line & Chevron (with dots) (2016) | alto flute, clarinet, violin, cello, and grand piano | 12'< | ||||
A Line & Chevron (2016) | Bb clarinet, viola, electric bass guitar, and electric guitar | 12'< | ||||
Taking the Tiger by the Tail (2016) | string dectet, two percussionists, three technicians, electronics | 56' | ||||
The Neutral Mask (2016) | string quartet | ca. 15' | ||||
Fathom Peaks Unseen (2016) | string quintet and two percussionists | ca. 10' | ||||
Elegant Music (2015) from the album Elegant Music |
viola, percussion, koto, reytuki, noh-kan, electronics | 30' | ||||
Dots and Lines (2015) | 15 performers of indeterminate instrumentation | 10' | ||||
Many Possibilities (2015) | 7 performers of indeterminate instrumentation | 8'30" | ||||
Horn No. 1 (2015) | air horn, electric guitar, contrabass, percussion, electronics | 4'15" | ||||
There is a Darkness (2014) | 4 bass trombones, 12 percussionists, 4 airhorns | 45" | ||||
Pianodrone #4 for 6 bows (2014) | grand piano, viola, cello | 7' | ||||
Rolling Thundara (2014) from the album Audition |
10 violas and viola solo | 6'26" | ||||
Rolling Thundara (2014) | string trio and electronics | 6'26" | ||||
Erupting (2014) from the album Audition |
10 violas | 1'42" | ||||
Erupting (2014) |
string trio and electronics | 1'42" | ||||
Darkened Bar (2014) from the album Audition |
6 violas and electronics | 2'43" | ||||
Darkened Bar (2014) |
string trio and electronics | 2'43" | ||||
Swell Drifts and Disintegrations (2014) from the album Audition |
8 violas, electronics, field recording | 8'37" | ||||
Swell Drifts and Disintegrations (2014) |
string trio and electronics | 8'37" | ||||
Yellows (2014) from the album Audition |
6 violas and electronics | 18'04" | ||||
STRING ORCHESTRA^back to top | ||||||
TITLE (YEAR) | INSTRUMENTATION | |||||
A Distant Continuum Towards (2016) from the album Stressings |
40 violas of 8 viola quintets | 10'10" | ||||
Annealing (2016) | string orchestra of 8 quintets | 10'10" | ||||
I'm Not A Horse Person Dog (2016) from the album Stressings |
68 violas | 20' | ||||
Accretion (2016) |
string orchestra of 68 violas | 20' | ||||
No Going Back Before Present (2016) from the album Stressings |
22 violas | 10' | ||||
Anthropocene (2016) | string orchestra | 10' | ||||
Vibiana (2016) from the album Stressings |
concerto grosso for 8 viola quintets and solo viola | 10'10" | ||||
Absence (2016) | concerto grosso for a string orchestra of 8 quintets and solo viola | 10'10" | ||||
FILM MUSIC^back to top | ||||||
TITLE (YEAR) | INSTRUMENTATION | |||||
Player One (2020) | composer, sound mixer, viola, digital programming | 13'12" | ||||
Dirty Machines - "The End of History" (2020) | composer (licensed music), viola, mixing, recording engineer | 13'34" | ||||
Into the Silver Ether (2020) | composer, music editor, recording engineer, church organ, percussion, electronics | 6'02" | ||||
Blow the Man Down (2019) | composer, arranger, music editor, recording engineer, prepared piano, percussion, electronics, viola | 90'00" | ||||
Magic Hour (2019) | composer, performer, music editor, recording engineer, keyboards, synthesizer, percussion, electronics, viola | 24'57" | ||||
Hail Satan? (2019) | featured composer, arranger, music editor, recording engineer, viola | 95' | ||||
"FRONTLINE" Documenting Hate: New American Nazis (2018) | music consultant, music editor, recording engineer | 54'18" | ||||
"FRONTLINE" Documenting Hate: Charlottesville (2018) | music consultant, music editor, recording engineer | 55'02" | ||||
It Comes At Night (2017) | assistant composer, viola, string arranger, recording engineer, etc. | 91' | ||||
Still Life With Water (2017) | filmmaker, director, editor, sound engineer | 24' | ||||
No Going Back Before Present (2016) | filmmaker, director, editor, composer, viola | 52' | ||||
Restless (2011) | composer, mellotron | 91' | ||||
LECTURE-PERFORMANCE^back to top | ||||||
TITLE (YEAR) | INSTRUMENTATION | |||||
Push and Believe (2019) | voice, playback, live and pre-recorded electronics, objects | 30' | ||||
Natural Whine Incident (2019) | voice, playback, 5 types of chardonnay | 60' | ||||
The Octavation (2018) | voice, percussion, objects, electronics | 30' | ||||
Within, Outside, and Beside Itself: The Architecture of the CFA (2017) | amplified voice with electronics, stone with harmonizer | 17' | ||||
The Indifference Tone: A ritual for intoning and untoning (2017) | amplified voice with electronics, adjustable pedestal, MIDI-controlled organ, fixed media playback | 12' | ||||
INSTALLATION^back to top | ||||||
TITLE (YEAR) | INSTRUMENTATION | |||||
Within, Outside, and Beside Itself: The Architecture of the CFA (NSEME installation edition) (2018) | fixed-media video and stereo audio installation | 20' | ||||
Guitar Center (2016) | fixed-media audio installation | 180' | ||||
Clangs for the Speaking Body (2015) | interactive installation | variable | ||||
DANCE & THEATER^back to top | ||||||
TITLE (YEAR) | INSTRUMENTATION | |||||
Tuning Rimsky Glitter Memoryhouse Under the Curtain Lights Out Suicide Bull Fight James Brown Suicide Bolero |
string quartet and percussion string quartet and percussion string quartet and percussion string quartet, percussion, electronics violin and viola string quartet and percussion string quartet, percussion, electronics percussion string quartet and percussion |
1'02" 2'38" 1'52" 8'10" 2'14" 4'24" 6'48" 2'24" 8'26" |
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from the performance and album Like a Sun That Pours Forth Light but Never Warmth (2014) | ||||||
Antigone (2018) Live-score for the Bertolt Brecht production of Sophocles' Greek tragedy |
composer/sound designer/performer: viola, percussion and objects, playback | 90' | ||||
DISCOGRAPHY^back to top | ||||||
TITLE — TYPE (YEAR) | INSTRUMENTATION | |||||
Magic Hour OST — digital EP (2020) Performed by Jordan Dykstra, Vinny Golia, Michael Pestel, and Brian McOmber. |
viola, synthesizer, pianotable, electronic programming, percussion | |||||
Hail Satan? OST — digital (2019) Performed by Angel Deradoorian, Ben Russell, Brian McOmber, C.J. Camerieri, Charlie Looker, Hideaki Aomori, James Falzone, Jordan Dykstra, and Paul Wiancko. |
voice, violin, percussion, synthesizer, trumpet, french horn, flugelhorn, clarinet, bass clarinet, flute, organ, and cello | |||||
A Known Unknown — CD/digital (2018) Performed by Teodora Stepançič, Martin Lorenz, and Assaf Gidron. |
piano, percussion, electronics, objects | |||||
Found Clouds — CD/digital (2018) Performed by Jordan Dykstra, Marilu Donovan, and J.P.A. Falzone. |
vibraphone, harp, organ, piano | |||||
It Comes At Night — LP/CD/digital (2017) Performed by Paul Wiancko, Ben Russell, Jordan Dykstra, Tomek Arnold, Michael Pestel, Robert Lowe, Angel Deradoorian, Daniel Schlett, Kyp Malone, Liam O'Neil, Steve Flato, Ayane Kozasa, and Brian McOmber. |
violin, viola, cello, percussion, synthesizer, pianotable, guitar, and electronics | |||||
Is Land a Voice — CD/digital (2017) Performed by Sofia Canales, Joshua Carro, Jordan Dykstra, Panagiotis Kanellopoulos, Yannis Kotsonis, Vasilis Koutsogiannis, Eva Matsigkou, Anastasia Peki, Danae Stefanou, & Marta Tiesenga. |
field recordings enhanced with air-horns and instruments | |||||
The Psychological Future — digital (2017) Performed by Jordan Dykstra, Matt Wellins, Anthony Deal, and Dave Scanlon. |
gamelan, strings, percussion, and electronics | |||||
Chimes Nine Times — digital EP (2016) Performed by Jordan Dykstra. |
guitar, viola, and electronics | |||||
Stressings — CD/digital (2016) Performed by Jordan Dykstra. |
many, many violas | |||||
Elegant Music — digital EP (2015) Performed by Jordan Dykstra and Kozue Matsumoto. |
viola, alu bell, suspended cymbal, koto, noh-kan, ryūteki | |||||
Three Horns — digital EP (2015) Performed by Jordan Dykstra. |
3 air-horns and electronics | |||||
Like a Sun That Pours Forth Light But Never Warmth — digital (2015) Performed by Mary Sutton, Jordan Dykstra, Brendan Rawlins, Rob Busey, and Patrik Csak. |
violin, viola, cello, double bass, percussion, and electronics | |||||
Audition — LP/digital (2014) Performed by Jordan Dykstra. |
violin, viola and electronics | |||||
Phonography — digital (2014) Performed by Jordan Dykstra. |
field recordings | |||||
TSS REMIXES — digital EP (2013) Performed by What's Up?, Pregnant, Rob Walmart, Hexlove, Megazord, and Jordan Dykstra. |
viola, voice, percussion, electronics | |||||
Pianodrones — digital EP (2012) Performed by Jordan Dykstra. |
grand piano | |||||
A Quiet Night — digital EP (2011) Performed by Jordan Dykstra. |
viola and electronics | |||||
Takes Swift Strides — digital EP (2009) Performed by Jordan Dykstra and Lucy Greene. |
viola, voice, percussion, electronics | |||||
PUBLICATIONS^back to top | ||||||
TITLE (YEAR) | INSTRUMENTATION | |||||
EXP3 (2016) a book of poetry and thought, in collaboration with Tom Blood |
reader's chorus | |||||
Cross Sections (2015) a collection of 20 text scores in English |
various | |||||
Querschnitte (2015) a collection of 20 text scores in German |
various | |||||
Cross Sections/Querschnitte (2015) a collection of 20 text scores in English+German |
various | |||||
EXTERNAL LINKS^back to top | ||||||
2019 Film Music Reel | ||||||
The Business of Composing for Strings — a comprehensive list of recent projects | ||||||
Bandcamp | ||||||
SoundCloud | ||||||
Discogs | ||||||
Internet Movie Database (IMDb) | ||||||
YouTube | ||||||
SUNDRIES (LIST OF WORKS, PERFORMANCE LIST, INTERVIEWS, RÉSUMÉ, C. V., & BIOGRAPH)^back to top | ||||||
List of Works (with performances) (current as of December 2019) | ||||||
Performance List (selected) from 2007 - 2019 (current as of December 2019) | ||||||
Interview by Mason Dockter for the Sioux City Journal (June 24, 2017) | ||||||
Interview by Sean Ongley for Thru Magazine (August 26, 2014) | ||||||
Interview by Zack Wilks for Impose Magazine (August 14, 2014) | ||||||
Interview by Matthew Singler for Willamette Week (July 30th, 2014) | ||||||
Résumé (current as of August 2020) | ||||||
Curriculum vitæ (current as of August 2020) | ||||||
Biograph One-sheet (current as of August 2020) | ||||||
Film Music Résumé (current as of August 2020) | ||||||
PUBLISHING INFORMATION^back to top | ||||||
Basilitia Bonita Publishing (BMI) New York, NY, USA |
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Editions Verde Brooklyn, NY, USA |
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Marriage Records Los Angeles, California, USA |
For score rental, publishing, performing, and generally kind inquiries, please contact me at:
jordandykstra (at) gmail (dot) com
This selected work list is current as of June 2020.
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 not to pay any such fees.
That being said, © + ℗ Jordan Dykstra, 2007 - 2020