Ever since piano lessons at age three with my irrepressibly mirthful teacher, Paul Sheftel, humor has been a vital ingredient in much of the music I listen to and write. Apart from Paul, I have also been inspired by Erik Satie, Cab Calloway, Spike Jones, Tom Lehrer, Randy Newman, Fats Waller, Heinrich von Biber, Clement Janequin, 1930s and 40s French musette, Cole Porter, and Fess Williams (among others). Since 2003, I have been composing the music for productions of The Paper Bag Players and performing it on stage in roughly 150 shows per year. It is a great delight to have the daily opportunity to make children laugh, shout and sing my songs.

Mountain Goose Rag (1997) visits its main theme twice, first in G Major, and after an interlude, in g minor. With only one note difference in the performance, there is a world of change in the overall mood, from outgoing and cheerful to broken-down and forlorn. The music is part of a score for Ariane Anthony's solo dance, Gasoline in the Street After Rain.
Hudson Harp Seal Rag (2005) uses awkward leaps and extended syncopations for a humorous and jolly effect. The piece was inspired by a photo of a harp seal who had wound up along the Hudson, and who appears to be waving and smiling for the camera. This rag was featured in Pineapple Soup! by The Paper Bag Players.
Spring Dance (2004) was written for the children's theater piece When Winter Stayed Too Long by The Paper Bag Players. When a disgruntled and nasty Winter that has overstayed its welcome finally leaves, Spring enters and performs a delightful dance.
The Bird and the Girl (2002) takes its title from a short theater piece by Judith Martin and The Paper Bag Players. In the piece, a girl becomes lost in the woods and finds her way home with the help of a bird. The music follows the quietly changing moods of the sweet story.
Circus (2001) is a rollicking piece that piles on everything in a madcap rush to the finish. An accordion wheezes in panting, off-kilter rhythms; the trombone catches up; percussion adds to the pratfall humor; and a honky tonk piano rolls in out of nowhere. Circus was created for the dance Faster! by Brian Brooks. piano, accordion, trumpet, 2 trombone, percussion
Chair (1998) uses the unusual combination of piano, viol da gamba, theorbo, kazoo and slide whistle for a rough and swaggering jazz tune. piano and slide whistle (John Stone), gamba (Motomi Igarashi), theorbo (Dan Swenberg), kazoo (Mark Gallay)
I wrote Tap (2002) for a short film by Sarah Browder starring Brian Brooks who moves through Manhattan as a stop-motion activated superhero, interacting with the crowd, waiting at stop lights, moving on.
Quick Change (2004) combines banjo and piano (plus some classic bluegrass percussion) in a dizzying chase. It was written as part of the score for Locomotive by choreographer Ariane Anthony. banjo, piano, whistle, washboard
Alligator Feet (2004) takes its name from a children's theater piece by The Paper Bag Players. A scientist travels to the swamp to study alligators, and is surprised to learn that all they want to do is dance and sing.
Beautiful Lady, Elegant Gentleman (2002) is a French-inflected waltz used in the dance-theater work Human Zoo by Ariane Anthony.