Compositions

Any time, any place, 2018

Five-line staff

Undisclosed instrumentation

I composed this piece for the ROAR 'Hung' exhibition, which invited members and studio holders to create works and hang them in the gallery space.

As primarily a gallery for visual art, I wanted to create a score which gallery viewers could engage with, even if they didn't fully understand written notation. Certain aspects of the notation are left to the interpretation of the performer/reader, such as the (exact) instrumentation, clef, tempo, sequencing and duration.

I enjoy promoting aspects of improvisation through performance but I also wanted to provoke gallery viewers into considering why certain elements of the score were 'missing'. Working with the of innocent double-entendre of 'any time, any place' seemed to be a perfect way to contribute to the exhibition.

Apprentice

Video

Undisclosed instrumentation

This is the third and final piece composed as part of my Masters' Research degree in which I attempted to create sonic experiences using silent video.

Apprentice brings to video some concepts which are almost exclusively associated with music such as pulse, rhythm, tempo, texture and structure. Instrument families are represented through the unique shapes that hands take when playing musical particular instruments.

Instead of working with sound, I composed using light. Written for a trio of instruments, musical phrase is created through rhythmic flashing of the images, with each phrase passing through every instrument over the duration of the piece.

Étude (2016)

Video

Classical guitar

This is the second piece composed as part of my Masters' Research degree in which I attempted to create sonic experiences using silent video.

Dit-Dah, 2014

Five-line staff

Trombone and Snare Drum

For this piece I experimented with a method of creating rhythm and structure without first thinking of the sounding result. Creating a short sentence in English and translating each word into morse code created unique rhythms. I applied the outcome of the encoding to structuring the entire piece.

Although the techniques required by the trombone and snare drum are quite conventional, I divided the snare drum skin into different playing zones (indicated in the performance notes) to explore the timbre of the drum.

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This selection of pieces demonstrates how I draw on previous musical knowledge and experience when working in previously un-explored media and/or approaches to composition.

Festival of Angels Soundscape (2018). Composed at Clifton Museum during the Festival of Angels December, 2018. Constructed using site-specific recordings: cutting of paper and cardboard, ambient room sounds and festival attendees. (Composed and exhibited during the Festival, 2018).

Composer in residence for the Great Places Scheme at Elsecar Heritage Centre, June - November, 2018: Stratum under Milton: I and II (2018).

Stratum under Milton: I (2018), for SATB choir. Performance instructions. Computerised realisation of piece, without text (.mp3). (Exhibited November, 2018)

Stratum under Milton: II (2018), audio composition using field recordings of the excavation of Milton Ironworks, June - July, 2018. (Exhibited November, 2018)

Any time, any place (2018), score for unspecified instruments, part of the HUNG exhibition at ROAR

Apprentice (2016), video composition. (First exhibited, 2017)

Etude (2016), video composition. (First exhibited, 2017)

Syncretism (2016), video composition. (Exhibited, 2017)

Portals (2015), for solo violin - video score using found footage for prepared improvisation (performed in concert by Mieko Kanno, 2016; exhibited, 2018)

This, That, These, Those (2015), video piece for silent reading, set to text from the poem Perfect Impressions Give You Lessons (1980)

Questioner, 1863 (2015), for solo flute - video score using found footage for prepared improvisation (performed in workshop by Nancy Ruffer, 2015; exhibited, 2018)

Reflection (in wood), (2015), electronic composition, arranged for stereo and surround array

Photosynthesis (2014), text score for experimental instrument and performance

Dit-Dah (2014), for tenor trombone and snare drum

Dysphagia (2013), for solo bass clarinet

Sculpture/Sonic Installation

Reflection (in wood) is a sonic sculpture which exhibits the physical interactions of woodworking tools on wood. The sounds of woodworking were captured using a microphone array. Sounds are played back in real time through a surround sound speaker array, inviting the viewer to observe the permanent marks as the track unfolds in realtime.

Musical Mr Fox