Composer


Runnegackonck Presencing
Site-determined work for TILT Brass Sextet
Video of the premiere, May 20th, 2016
Opening of Naval Cemetery Landscape at Brooklyn Navy Yard

Works

TILT Brass

  • Burn (LoTILT Version)

    Burn (LoTILT Version)

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    LoTILT (SIXtet & LoTET)
    2 trumpet, 2 trombone, 2 tuba, bass clarinet, bass sax, 2 perc, elec bass, laptop

    Premiered by TILT Brass & Lotet (LoTILT) Dec. 10, 2006 at Roulette Intermedium
  • Dedifferentiation with Brass (Roulette)

    Dedifferentiation with Brass (Roulette)

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    For TILT Brass Sextet & UllU (David Shively, no-input percussion). Premiered June 27, 2013 at Roulette (Brooklyn). Created for TILT's 10 year anniversary. [aka Dedifferentiation with Brass No.1]
  • Fabrics 1 from Dedifferentiation with Brass

    Fabrics 1 from Dedifferentiation with Brass

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    Fabrics 1 (2014) from Dedifferentiation with Brass
    for TILT Brass Sextet (3 trumpet, 3 trombone)
    Premiere on May 1st, 2014 during 2014 Look & Listen Festival

    Recording Info:

    TILT Brass Sextet
    Time Leopold, Mike Gurfield, Steph Richards - trumpet
    Jen Baker, Jacob Garchik, James Rogers (bs) - trombone

    Audio recording by Bill Siegmund, Digital Island Studios, NYC
    Broadcast online at Q2 Music

    Complete concert recording and info at
    http://www.wqxr.org/#!/story/look-and-listen-presents-bracing-new-works-accordion-and-brass/
  • Foliation (for Suzanne)

    Foliation (for Suzanne)

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    TILT Creative Brass Band
    3 trumpet, 2 tenor trombone, 1 bass trombone, 2 French horn, tuba, percussion

    Premiered by TILT Creative Brass Band, Nov.11, 2009 at Roulette Intermedium

    Additional Performances:
    ISSUE Project Room, March 3, 2010

    Released on To TILT: Volume One - Original Music for TILT Brass





     
  • Metaxis 1

    Metaxis 1

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    LoTILT (SIXtet & LoTET)
    Folio score for 2 trumpet, 2 trombone, 2 tuba, bass clarinet, bass sax, 2 perc, elec bass, laptop

    Premiered by TILT Brass & Lotet (LoTILT), Dec. 10, 2006 at Roulette Intermedium
    Commissioned by Roulette and Jerome Foundation 

    More about Metaxis folio score project ⥤
  • Metaxis 2

    Metaxis 2

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    TILT SIXtet
    2 trumpet, 2 trombone, 2 tuba (laptop)

    Premiered by TILT Brass' SIXtet, May 9, 2007 at Diapason Gallery

    Additional Performances:
    ISSUE Project Room, February 6, 2008
    Cornelia Street Café, November 10, 2008
    Ibeam, April 18, 2009
     
  • Myrtle Ave (LoTILT version)

    Myrtle Ave (LoTILT version)

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    LoTILT (SIXtet & LoTET)
    2 trumpet, 2 trombone, 2 tuba, bass clarinet, bass sax, 2 perc, elec bass, laptop.

    Premiered by TILT Brass & Lotet (LoTILT) Dec. 10, 2006 at Roulette Intermedium
  • Quintette

    Quintette

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    Brass quintet with doubling bass trombone/tuba. Work-in-progress version premiered at Sisters Brooklyn, June 18, 2024 by Peter Evans & Sam Jones, trumpet, Kyra Sims, horn, James Rogers, bs trb/tba, and CJM on trombone. 


    Exceprt of Quintette (wip v2)
  • Stitch No.1 (aka Segantini Stitch)

    Stitch No.1 (aka Segantini Stitch)

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    5 brass instruments and percussion
    First performed by members of TILT Brass, March 24, 2004, Barbés, Brooklyn

    Barbés personnel:
    Herb Roberts, Nate Wooley - trumpet; Mark Taylor - horn; Chris McIntyre - trombone; Julie Kalu - tuba; Kevin Norton - percussion
  • Stitch No.2

    Stitch No.2

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    TILT Creative Brass Band
    3 trumpet, 2 tenor trombone, 1 bass trombone, 2 French horn, tuba, percussion

    Premiered by TILT Creative Brass Band, Nov. 30, 2005 at Tonic, NYC

    Additional Performances:
    BAM Café, April 7, 2006

Trombone Music

  • Bagatelle No.1

    Bagatelle No.1

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    trombone duo (not yet performed)

    Written in Boston, ca. 1998
  • Elements (for Tenney)

    Elements (for Tenney)

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    10 tenor trombone, 1 bass trb, Bflat clarinet, Eflat alto clarinet, violin, perc.

    Premiered by Flexible Orchestra, April 28th, 2006 at St. Peter's Church, NYC

    Commissioned by Downtown Ensemble/Flexible Orchestra


  • Monuments

    Monuments

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    trombone and piano

    Incidental music for Monuments, a film by Redmond Entwistle.

    Premiere screening at Art In General, Jan. 21st, 2010
     

    Monuments 2010, 29 minutes, 16mm, color
  • Phono-Markers: E-set No. 1

    Phono-Markers: E-set No. 1

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    E-set No. 1 is the initial piece from Phono-Markers, a folio of works for solo trombone. Like other recent works, Phono-Markers use cyclic data patterning to generate crystallographic forms. Phono-Markers are part of my on-going Smithson Project, a body of material for various sonic media inspired by the work, writings, and inspirations of visual artist Robert Smithson.
  • Reverses

    Reverses

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    Reverses (2019) is a musical response to Richard Serra’s massive sculpture Reverse Curve (2005/2019) which was installed at Gagosian Gallery’s 21st Street gallery where the piece was performed. Reverses acknowledges and utilizes the acoustic characteristics of the large, resonant gallery space in which the music and sculpture coexisted. Employing the diffusion created by brass and percussion in an extremely reverberant room, the piece attempted to establish an analogous sonic experience to the steel sculpture and its bisection of the space. It did this by locating a duo of trombone and percussion (playing snare drum) on opposing sides of the sculpture where they exchange material back and forth in an accretional and elided formal system, a sort of simplified prolation canon that acknowledges the lingering resonances of each iterated sound. Many thanks to percussionist and event curator Danny Tunick for his efforts.
  • stuplimity No. 1

    stuplimity No. 1

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    trombone septet

    Stuplimity No.1 (2005) by Chris McIntyre (composer), 7X7 Trombone Band

    Stuplimity No.1 incorporates elements used by artist Sol LeWitt in his series of works grouped under the title Variations of Incomplete Open Cubes (1974). This transliteration was a response to the 7x7 ft cubic structures used by Director/Choreographer Yoshiko Chuma in 7X7X7X7X7, the site-determined intermedia work in which the pre-final version of Stuplimity No.1 was heard. The outdoor site that Chuma's larger work occupied was near the Hudson River's North Cove in Battery Park City, NYC. This was one of several performance sites along the river during the event Art On The Beach: Revisited during the 2005 River To River Festival. 

    Premiered durring City Center's Fall For Dance Festival, Oct. 7th, 2005
    by 7X7 Trombone Band 
    Commissioned by choreographer Yoshiko Chuma and the School of Hard Knocks

    Additional Performances:
    2005 River To River Festival (earlier version: stuplimity: river), June 2 & 3
    > NY Times review 
    2006 ISSUE Project Room (Carroll St silo & grounds), June 29 & 30
    2007 The Stone, NYC, June 1
  • stuplimity no.2 (music for Sundown)

    stuplimity no.2 (music for Sundown)

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    folio score for 5 or more trombones

    Premiered by 7X7 Trombone Band at Issue Project Room, July 29 & 30, 2006.

    Commissioned by Yoshiko Chuma, supported by Live Music for DanceAward.
  • stuplimity no.3

    stuplimity no.3

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    for solo trombone and live-electronics
    Premiered by the composer, Brooklyn Lyceum, March 21, 2007, during the 2007 MATA Festival

    Additional Performances:
    iQuit Music Series, Rogue Buddha Gallery, Minneapolis, May 17, 2007
    Ne(x)tworks' Music Without Dance Fest at Greenwich House, Feb. 26, 2012

    Program Note (from premiere):
    The third piece in my stuplimity series continues a process of exploring temporal and sonic perception, with the idiomatic and timbral qualities of trombone as the medium. no. 1 is for septet, no. 2 is for five or more (there is also a trio version of no.1). This solo iteration furthers the downward scaling process, but the addition of live-electronics (via MAX/MSP) creates a sort of parallel upscaling of sonic probabilities.

    I came across the title, a neologism combining stupefy and sublime, while reading an essay on Sol LeWitt's multiple media and format series Variations of Incomplete Open Cubes. Sianne Ngai, the literary theorist who coined the term, offers a definition: "...in experiencing the sublime one confronts the infinite and elemental; in stuplimity, one confronts the machine or system, the taxonomy or vast combinatory, of which one is a part." At the time, I was in the process of creating stuplimity no.1 for a collaboration with choreographer Yoshiko Chuma, who also commissioned no.2. Chuma utilizes several 7x7 foot metal-frame cubes in her work, and I was looking to LeWitt for some intertextual inspiration. The conceptual thread I'm following is heavily influenced by Variations: textural and thematic material recurs throughout, but in varying degrees of transformation and temporality. This performance is dedicated to Leroy Jenkins.
  • Tilted Arc from Presencing Piece No.1 (Fed Plaza)

    Tilted Arc from Presencing Piece No.1 (Fed Plaza)

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    Tilted Arc (2014) for trombone septet and sound media is part of Presencing Piece No. 1 (Fed Plaza). Premiered on August 9th, 2014, Presencing Piece No.1 is a collaborative site-specific work employing music performance and 10-channel speaker system to present sounds concieved with Jacob K. Javits Federal Building Plaza in Lower Manhattan in mind. The excerpt recording is from a preview performance at South Oxford Space, Brooklyn, on May 31, 2014. 

    Personnel at South Oxford Space:
    Trombone
    Jen Baker, Jacob Garchik, Sam Kulik, Will Lang, Matt Melore, James Rogers, and Peter Zummo
    Live Electronics
    Chris McIntyre

Mixed Ensembles

  • Conversions

    Conversions

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    improvising stratetgy for 2 or more performers
    for Ne(x)tworks

    Premiered on May 19th, 2005, ISSUE Project Room

    Additional Performances:
    Roulette Intermedium, December 8, 2006

    Program Note:
    Inspired by a work of Vito Acconci's from 1971, Conversions (2005) explores basic sonic transformation using simplified, binary relationships. While any musical parameter could theoretically be "problematized" into a binaristic transformation, only the ambiguous element of timbre has been addressed in performance. Ideally, a range of elements (duration, frequency, amplitude, etc.) could be run through the stark process of Conversions (either diachronically or synchronically). Beyond the basic unifying goal of continuous tranformation, each performance is intended to be a unique sonic environment for performer and audience alike.
  • quartet music

    quartet music

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    trumpet, French horn, bass trombone, Nord Lead synth, soundtrack

    part 1 premiered by B3+ & McIntyre, March 4, 2008, Settepani Restaurant, Harlem
    B3+ Brass Trio - David Taylor (bs trb), John Clark (hrn), and Franz Hackl (trp)
    Commissioned by Composers Concordance. 

    Premiere of complete set at ISSUE Project Room, March 28, 2009
    Josh Frank (trp), Mike Atkinson (hrn), Dave Nelson (bs trb), and composer (Nord)
  • Raster for quintet

    Raster for quintet

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    string quartet and piano
    for Ne(x)tworks

    Premiere at Chelsea Art Museum, May 3, 2008

    Additional Performances:
    (le) Poisson Rouge, April 1, 2009 (2009 MATA Festival)

    Program Note:
    Raster for quintet (2008-09) builds on conceptual aims I've been developing in my compositions for Ne(x)tworks and elsewhere. My goal in previous works has been to challenge listeners' aural memory and listening patterns by presenting thematic and rhythmic ideas in abstract contexts, and then recalling them in various guises and evolved iterations. In relation, Raster is much more direct. I've chosen fairly audible rhythmic and pitch constructs to address these earlier concerns. The players are given both precisely written and clearly delimited indeterminate tasks. Unlike much of my music, this material occurs within a pulsed environment, albeit of a constantly shifting character. Instead of removing isometric time to create a quasi-static listening space, Raster creates stasis by continually reshaping time as it occurs. I've also limited the pitch material to tightly controlled arrays ostensibly adding to the static-yet-evolving profile of the work. 
  • Sigmar [unknown source]

    Sigmar [unknown source]

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    string quartet, piano/synth, harp, glass, trumpet, trombone, electronics, multiple soundtracks
    for Ne(x)tworks

    Original version premiered at Issue Project Room, May 28, 2004
    Current version premiered at Roulette Intermedium, Dec. 8, 2006

    Program Note:

    "It is from zero, in zero, that the true movement of being begins."
    Kasimir Malevich

    Sigmar [unknown source] (2005/06) is inspired by the work of German visual artist Sigmar Polke. It utilizes several organizing principles. Based primarily in time increments, Sigmar obliquely incorporates appropriated bits of musical material (chordal statements from Stravinsky's Symphony In C, cells from Terry Riley's In C), as well as several pitch sets created for limited improvisation. Pre-recorded soundtracks are heard from various playback devices and locations throughout the space, acting as a canvas on which ensemble material is applied.
  • The Shape of Time (from Smithson Project)

    The Shape of Time (from Smithson Project)

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    The Shape of Time (from Smithson Project)
    I. synchrony
    II. vis a tergo
    III. diachrony

    string quartet, piano, voice, harp/baritone guitar, percussion and electronics

    The Shape of Time is a large ensemble work that is part of my on-going Smithson Project, a set of works for different sonic media inspired by the work, writings, and inspirations of visual artist Robert Smithson. The title is taken from Kubler's book of the same name, a work which heavily influenced Smithson. The Shape of TIme is in 3 continuous sections. 

    Premiere by Ne(x)tworks and JACK Quartet at The Kitchen, NYC
    December 16 & 17, 2011
  • VOIDS

    VOIDS

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    trumpet, trombone, and soundtrack (stereo)

    Premiered by Ne(x)tworks, June 6th, 2003 Chelsea Art Museum
    Brian McWhorter - trumpet, CJM - trombone

    Additional Performances:
    ISSUE Project Room, Oct. 12, 2006 (Peter Evans - trumpet)
    Roulette, December 8, 2006 (Nate Wooley - trumpet)

    Program Note:

    VOIDS (2003) 
    I. in 0
    
II. ²
    
III. L

    IV. mkg

    VOIDS (2003) is a work in four short movements for improvising trumpet and trombone duo with soundtrack. A very early piece in my compositional life, the score for VOIDS is primarily instructional. It premiered at Chelsea Art Museum in June 2003 during the creative music group Ne(x)tworks' debut concert. The work is a poetic musical response to the experience of existing on the streets of New York on 9/11/01. Each movement deals with a single physical "void": historical, forgotten, or little considered public spaces located in the constantly evolving phenomenological realm known as Manhattan Island.

Spatial | Site Specfic

  • Presencing Piece No.1 (Fed Plaza)

    Presencing Piece No.1 (Fed Plaza)

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    Tumblr for Presencing Piece No.1

    Created and Directed by Chris McIntyre
    In collaboration with TILT Brass, Ed Bear, Tristan Shepherd, and David Shively

    Programed and Funded by NYC Dept. of Transportation for its annual SummerStreets program.

    Conceived by composer and trombonist Chris McIntyre, "Presencing Piece No.1 (Fed Plaza) " is a collaborative site-specific work using music performance and sound installation conceived for presentation at Jacob K. Javits Federal Building Plaza in Lower Manhattan. The piece utilizes spatialized acoustic and amplified sound along with broadcast media (infrared transmission and wireless internet) and public interaction (infrared sensors) to activate and articulate dimensionality within the site. Non-linear natural (geologic/geographic) and social (Native to Colonial to Federal) histories influence and provide the sonic, textual, and spatial content of the work, with special attention given to Richard Serra’s site-specific sculpture "Tilted Arc" (1981). March 2014 marked the 25th anniversary of its removal from the site, and the complex dialogic between Serra’s work and the plaza acts as a primary relationship for examination via sonic means in "Presencing Piece No.1 (Fed Plaza)."
  • Runnegackonck Presencing

    Runnegackonck Presencing

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    for TILT Brass Sextet (3 trumpets, 3 trombones)



    Commissioned by Brooklyn Greenway Initiative and premiered on May 20, 2016, Runnegackonck Presencing is site-specific work created for the opening of Naval Cemetery Landscape at Brooklyn Navy Yard. The work is named after the ancestral creek that meandered around the Hospital and Cemetery grounds on its way to Wallabout Bay.

Electronic | Installation

  • Alogon

    Alogon

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    Sound work (stereo & 6 channel versions) - 7:48 min.
    6-channel version premiered during 2010 MATA Festival at (le) Poisson Rouge's Gallery Bar, April 20, 2010

    Conceived originally for a six discreet channel playback, Alogon is a structuralist work for pure synthesizer tones. It's an attempt at a formal transliteration of visual artist Robert Smithson's work of the same title from 1966.
  • Kalimpong Khor

    Kalimpong Khor

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    Sound work (stereo & 6 channel versions) - 14:30 min.
    6-channel version premiered during 2010 MATA Festival at (le) Poisson Rouge's Gallery Bar, April 21, 2010

    Kalimpong Khor is a work of musique concrete created primarily using field recordings made in Kalimpong, West Bengal, India, including at Zang Dhok Palri Phodang, a Tibetan Buddhist Temple. Also heard are sounds made with a Nord Lead 2 synth.
  • silOM

    silOM

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    sound work (stereo, 8 & 16 channel versions), 20 - 40 minutes
    16-channel version premiered at ISSUE Project Room, Oct. 12, 2006

    Additional Presentations:
    Brooklyn Lyceum, March 31 - April 4, 2008 (2008 MATA Festival)

    silOM uses field recordings made in and around ISSUE Project Room’s Carroll Street silo space on the Gowanus Canal, creating a non-linear, quasi-narrative sound world that depicts the arrival, preparation, and presentation of a concert at this unusual location.

    More info on this project ⇒
  • Stone Stratum

    Stone Stratum

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    Stone Stratum (2017) 5:33
    UllU (Chris McIntyre & David Shively)
    Mixed & Produced - Chris McIntyre; Sound Sources - David Shively

    All sounds sourced from a live performance by UllU (Chris McIntyre & David Shively) on March 27th, 2013 at The Stone in New York City. 

    Included on the compilation release Notes from Sub-Underground, a project put forth by over 50 artists from across multiple disciplines and practices to support the American Civil Liberties Union. Organized by Travis Just and Kara Feely.
  • Surfaces of Constant Time

    Surfaces of Constant Time

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    stereo soundtrack for digital video, 8:22 min.
    Video by José Alvarez

    Premiered at Ratio3 Gallery, San Francisco, Jan. 8, 2010

    Images 1 & 2 - Stills from Alvarez video
    Images 3 & 4 - Installation views from Ratio3 Gallery