Causal Impacts (2005/6)

This piece was composed around the notion of causality. Source materials, indistinguishably derived from electric guitar sounds, are presented in brief phrases displaying leading trajectories and impact-like terminations. Causal Impacts was a finalist in the 2006 Bourges International Electroacoustic Music and Sonic Arts Competition and also gained first prize in the 7 th Musica Viva Electroacoustic Competition 2006 in Portugal.

 

While composing this piece, I began to think of the analogy of alchemy and its applicability to the compositional process of acousmatic music. I wanted to create something seemingly precious and elaborate that showed no similarity to the ordinary source sounds of kitchen utensils and appliances.

 

Origami (2007)

These two miniatures are taken from a larger work entitled Origami. This is my second work to make use of a compositional tool developed from Denis Smalley's spectromorphological language, this time specifically focusing on different types of motions. Experimentation with this vocabulary informed the creation of directional, reciprocal and cyclic motions that the origami structural shapes initially inspired. The other miniatures within this work are entitled The Leaf , The Goldfish and The Dragonfly .

Origami is the art of economy - a few simple folds can suggests an animal or shape and with slight modifications an entirely different creation can appear.

1. The Fortune Teller (otherwise known as paper-foldy-thing) is a representation of regularity. Its final symmetrical form is flexible - stretching outward and collapsing inwards, while its function, as a method of concealing and revealing hidden fortunes, is presented as a game of chance.

2. The Crane is a representation of good fortune. It is an agile bird with a fleeting presence and swift movements.

 

Sonidos Bailables (2006)

This group of four acousmatic miniatures was conceived from the research and findings presented in a paper, (January 2006) concerning the incorporation of Latin American influences in electroacoustic music. Remaining with me from this study was the idea of the 'cultural sound object.' These miniatures use typical 'cultural sound objects' associated with the music from South America, exploring their potential in the medium of acousmatic music. Sonidos Bailables was awarded the Public prize in the Concurso International de Composicao Electroacoustica 2006 (CEMJKO) competition for electroacoustic music, Brazil.

 

 

Cajon! (2008) 8'15 (2008)

The piece Cajon! as the title suggests, makes use of sound recordings of the Peruvian percussion instrument of the same title. Due to an unfixed panel on its box-like shape, the cajon exhibits a surprisingly rich variety of sounds, one of which is likened to the snare drum rattle.This piece is structured in three sections exploring rhythmic material and the timbre of the Cajon . A clapping technique known as ' palmas' in flamenco music is used alongside the Cajon sound material to set up contrasting rhythmic patterns.In addition to these sounds, glitch and noise-like materials provide a backdrop to the activity of the gestural events.This piece was composed at the Novars Research Centre at the University of Manchester and completed at the Miso Music Lab for Electroacoustic Creation (LEC), Portugal.

 

 

In Response... for bass flute and live electronics (2006)

In March 2006, flutist Gavin Osborn commissioned an electroacoustic mixed work to provide a performance opportunity on his newly acquired bass flute.

In Response... consists of 60 pre-composed sound files all originating from a recorded bass flute improvisation. 26 of these sound files are mapped on to the keyboard, corresponding to the letters of the alphabet. The remaining sound files are triggered by mouse control using Max MSP.The performance directions for this piece are minimal, only requiring the performer to respond to what is 'thrown at them' by the computer operator, using what they hear as a basis for their improvisation. Sound files are represented in a score by symbols to give guidance to the performer as what to expect in terms of duration and timbre.