I wrote this for a theory class. It uses some jazz elements as well as a middle 12-tone section. Here's what I wrote about it for the class:

The “A” section of the piece, measures 1 to 10, reflects some of the elements of jazz.  The polychords made up of triadic, quartal, and quintal harmonies create very loose extended harmonies.  A lot of mixed-meter is used, creating a free rhythmic setting for the melody.
Measures 11 and 12 act as a transition into the “B” section.  The left hand of the piano plays a C major triad in a spaced out voicing.  The right hand is a verticalization of the first three pitches and fifth pitch (C, Bb, F#, and E) of the tone row about to be introduced.  The fourth pitch (G) is in the C major triad in the bass.  The syncopated rhyme in the right hand sets up the rhythmic elements of the “B” section.
The “B” and “C” sections use the following tone row: C, Bb, F#, G, E, C#, B, F, Ab, Eb, D, and A.  In the “B” section, measures 13 to 28, the flute plays the following variations of the row in this order: P0, I0, P3, RI9, and R0.  These orders make up the outline of the matrix.  Underneath this, the piano sticks to P0.  The left hand plays the pitches in various verticalizations in a 7-beat rhythm.  The right hand uses this rhythm as an isorhthym for the repeating P0 form.
The “C” section adds the element of a synthetic scale (C, C#, E, F#, G, Bb), which is played in contrary motion between the flue and piano for the first four measures.  This scale is derived from Nicholas Slonimsky’s “Thesaurus of Scales and Melodic Patterns.”  In this scale, the octave is split evenly into two parts (the triton) and then what Slonimsky calls the “Interpolation of Two Notes.” This means two notes where added, at the same interval, in each part of the octave.  In the first half, C# and E were added above C, and in the second half, G and Bb were added above F#.  This creates a set of four tritons (C and F#, C# and G, and E and Bb).
Starting in measure 34, the piano’s right hand continues the synthetic scale doubling notes into eighth notes and the left hand plays the tone row in octaves.  The last two notes of the row are played in unison by piano and flute at measure 46 and then the row repeats as a sort of call and response in measures 47 to 54.
Measures 55 to the end are a return of the “A” section with only a slight melodic variation in measure 60.  Measures 65 to the end are a sequencing of the quartal over quintal harmonies.

Lapsed For A Moment

(X)CCXXVI, a fixed media moment

10226 days, 19 hours, 47 minutes
telecaster noise
[28]

(X)CCXXVI

Escitalopram (marketed as Lexapro) is included in the class of drugs called selective serotonin reuptake inhibitors (SSRIs). This class of drugs is used to treat depression, anxiety, and other mood disorders.

Adverse reactions or quality problems experienced with the use of this product may be reported to the FDA's MedWatch Adverse Event Reporting program, using the contact information at the bottom of this page.

***

Electronics—voice/drum machine/synth
2022

Escitalopram 10 Mg

Trans-Ball (Demo)
by Adam J. Rineer

Text from Das 3. Geschlect Issue 1, Article 7 "Trans-Ball" (May 1930) by W. Kramer

Translations by Erica Kastner

LYRICS:
A few months ago
I was strolling through
the streets of Berlin.
I strolled through the streets
and looked at the newspaper kiosks.
New publications,
magazines…

I discovered a–
a magazine called
“The Girlfriend.”
(“The Girlfriend.”)
I bought this paper
for twenty pfenning.

The content of this magazine is int’resting,
good literary works and rich poems.
In its sixth year, ev’ry Wednesday,
scientific articles, deals with the homosex’al challenge.

An advertisement,
advertisement section,
I found an ad.
It announced there–
there would be a GRAND TRANS-BALL!
…on the first Thursday of the month
in the house of the “Zauberflöte”
I decided to attend.

(Ah— Ah— Ah—)

A butch woman in a tuxedo met me when I entered the hall!
(In the house of “Zauberflöte”)
It was Lotte Hahm the director from the women’s club!
(Violetta! Violetta!)

Women in society gowns,
men in tailcoats and tuxedos.
Women in society gowns,
men in tailcoats and tuxedos.
Have to wear clothes of the other gender.
Have to wear clothes of the other gender.
Trans people are married.
Trans people have families.
Trans people have sex lives.
Trans people are married.
Trans people have families.
Trans people have sex lives.

In the upper hall 
of the Zauberflöte,
which bares the name “Florida,”
homosexual men 
hold their social ev’nings,
social ev’nings organized by 
the Society for Human Rights.

I was given a-
a magazine,
“Die Insel.”
(“Die Insel.”)
Equipped with pictures,
twenty pfenning…

While leafing through this magazine,
I noticed only literary works and good male nudes.
I asked why this magazine did not contain
any articles on the homosexual movement.

I was given another magazine
“Paper for Human Rights"
This magazine – factual, relatable – 
dealt with homosexuality.
It contains articles of struggle 
that oppose paragraph one-seventy-five 
of the Reich Criminal Code 
and demand its elimination.
The Paper for Human Rights 
can be described 
as a really enlightening political organ 
which primarily serves 
the liberation struggle 
of homosexuals.

A Grand Trans Ball…
A Grand Trans Ball…

Women in society gowns,
men in tailcoats and tuxedos.
Women in society gowns,
men in tailcoats and tuxedos.
Have to wear clothes of the other gender.
Have to wear clothes of the other gender.
Trans people are married.
Trans people have families.
Trans people have sex lives.
Trans people are married.
Trans people have families.
Trans people have sex lives.

THIRD SEX: 1930s transvestite lieder

Trans-Ball (Acoustic Demo)

from THIRD SEX: 1930s transvestite lieder
Music by Adam J. Rineer
Lyrics adapted from Das 3. Geschlecht Issue 1, Article 5 (May 1930)
“My first outing as a woman” by Hans Hannah Berg
Translation by Erica Kastner

Lisa Stephen Friday - Vocals
Adam J. Rineer - BGVs, Electronics
Will Shishmanian - Guitars

My First Outing As A Woman (Demo),  ft. Lisa Stephen Friday

Vocals: Murphy Taylor Smith
Keys/Electronics: Adam J. Rineer
Guitar: Will Shish
Drums: Nichole Patrick
Live Recording / Mixing by Irving Gadoury @irvingg_recording
Live at Pete's Candy Store (Brooklyn) @petescandystore

Trans Youth (LIVE at Pete's Candy Store)

Trans-Ball (LIVE at Pete's Candy Store)

“You’d Have Loved it Here” from GHOSTED
Music and Lyrics by Adam J. Rineer
Performed by Kodiak Thompson
©2019

LYRICS:
Six-hundred-thirty miles on the road,
and now I'm callin' San Francisco home.
They say it's us'lly foggy,
but today the sky was clear.
And all I thought was you'd have loved it here.

I moved into a townhouse on a hill
just like the ones they show in Hollywood films.
I'm four blocks from the Castro
where no one lives in fear.
And I keep thinking you'd have loved it here.

We escaped by reading comics
in your room when we were teens.
But when we both got older,
it got harder to believe
that this town could be a place for one 
who looks and acts like me
'cause I could never hide like you.
And I could not decide for you,
so sorry, but I had to leave.

Today I took a walk along the bay
and thought about the shit this note could say.
But I'm lying in bed alone tonight,
wishing you were near me.
You'd have loved it.
You'd have loved it.
I'd have loved you here.

You'd Have Loved It Here

"She Doesn't Know Me"
Music and Lyrics
by Adam J. Rineer
Performed by Emily Riedel
©2019

LYRICS:
Mother said, “Don’t talk to strangers.”
Mother said, “Be careful crossing the road.”
Mother said I should stay inside.
Mother said, “Don’t go out on your own.

She doesn’t know there’s a world out there.
She doesn’t know what I’ll find out there.
She never tried enough to care.

She doesn’t know me
Or who I could be
I’m not the girl that she sees
She doesn’t know me
As she tries to hang on
I’m letting go and now I’m gone
She doesn’t know me

Mother told me to let down my hair.	
Mother said it looks beautiful in curls. 
Mother said, “You can’t play with the boys.”
Mother said, “Be like the other girls.”

She doesn’t know how bizarre it is
That she doesn’t know who her daughter is.
She’ll never know how hard it is.

She doesn’t know me.
And why should I care
Wear it up or down, it’s just fucking hair.
She doesn’t know me
As she tries to hang on
I’m letting go and now I’m gone
She doesn’t know me

But I know there are people out there
who will understand, can comprehend.
Yes I know someone’s gotta care.
Someone’s gotta know.
That’s where I’ll find my home.

Mother said not to call.
She turned away as I went out the door.
She never said goodbye.
She said I’m not her daughter anymore.

She doesn’t know.
She doesn’t know.
She doesn’t know.

She doesn’t know me.
And I hope she is glad
That never met the daughter she had
She doesn’t know me.
As I try to hang on
She’s letting go. Don’t let go!
I’m hanging on, she’s letting go,
And now I’m gone
Someone’s gonna know me.
Someone’s gonna know me.

She Doesn't Know Me

Elements of Capture, I-IV

from A Trip to the Moon
Music and Lyrics by Adam J. Rineer
@adamjrineer
@atriptothemoonmusical
adamjrineer.com
atriptothemoonmusical.com

Vocals: Zofia Weretka
Violin: Meghan Todt Williams
Cello: Giovanna Moraga Clayton
Guitars: Juan Arango
Bass: Thomas E. Carley
Drums: Joshua Roberts

Lyrics:
SPACE CAN FEEL SO STILL
WHEN STUCK IN MOTION
WITH ALL THE YEARS TO FILL
BY CONSTANTLY REVOLVING
AND NOT TOO MUCH EVOLVING.
WHEN ALL THE OTHER MOONS
ARE FIFTY MILLION MILES AWAY… 
THERE’S NOT A SOUL INSIDE THE ASTEROID BELT
WHO CAN HEAR A WORD I SAY...

BUT HERE’S THIS WORLD IN THE SKY,
A WORLD OF GREEN AND BLUE,
THAT NEVER SEEMS TO ANSWER.
IT’S A STRANGE, SYNODIC DANCE,
A SILENT, STOIC STONE
AND ME, THE LUNAR DANCER!

FACE TO FACE, NOT A WORD
FOR BILLIONS OF YEARS
TO YOUR LOYAL SATELLITE!
WHILE I GAZE, MILES AWAY
AROUND AND ‘ROUND I GO,
I’M DANCIN’ IN YOUR EARTH LIGHT!

CAN YOU SEE ME ORBIT AND ORBIT 
AND ORBIT AROUND YOU?
SEE ME ORBIT AND ORBIT 
AND ORBIT AROUND YOU!
YEAH, I ORBIT AND ORBIT 
AND ORBIT AROUND YOU!
DO YOU SEE ME ORBIT 
AND ORBIT AROUND YOU?

YOU AND I, ARE WE THE SAME?
A GODDESS AT YOUR CORE?
DOES SHE FEEL LIKE NO ONE KNOWS HER?
IF THERE IS, I WANNA KNOW,
AND TELL HER SHE’S NOT ALONE—
IF I COULD GET A LITTLE CLOSER... 

BUT I ORBIT AND ORBIT 
AND ORBIT AROUND YOU.
SEE ME ORBIT AND ORBIT 
AND ORBIT AROUND YOU!
YEAH, I ORBIT AND ORBIT 
AND ORBIT AROUND YOU!

AND I WON’T STOP, ‘CAUSE I CAN’T STOP 
GETTIN’ CAUGHT IN YOUR GRAVITY.
NO I WON’T STOP, ‘CAUSE I CAN'T STOP 
YOU WON’T STOP PULLIN’ ME.
NO I WON’T STOP, ‘CAUSE I CAN’T STOP 
WE’RE BARRED BY THIS DIVIDE.
NO I WON’T STOP ‘CAUSE I CAN’T STOP, NO I CAN’T STOP... 
BUT WHAT IF WE TRIED TO COLLAPSE THE DIVIDE?
WHAT IF SOMEDAY THE SPACE WASN’T SO WIDE?
SO GIVE ME A GLANCE AT YOUR GODDESS INSIDE!
LET’S FIND A WAY FOR OUR WORLDS…
TO COLLIDE!
LET’S COLLIDE!
SO THERE’LL BE NO MORE NEED TO KEEP… 

ORBITING…
AND ORBITING…
AND ORBITING…

Orbit

[meastrx] // [composer | writer | keyboardist | artistic leader] // [creating works that live on the lines of popular music, theatre, and the experimental] // [hbg > phl > nyc]

adam j. rineer

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