2017

173 [opi'lka [2017] for flute, trumpet, soprano saxophone, alto saxophone, bass clarinet, electric guitar,  prepared piano and fixed media

​In [opi’lka an improvisation for bass clarinet and electronics was used as the basis for a sort of notational improvisation to create a score. The notation is a blend of "spectromorphological" symbols (i.e. sound-shapes) with more traditional proportional notation as strict synchronisation with (elements) of the original recording. Many of the spectral complexes from the original sound-object are recreated through wind instrument multiphonics and other extended techniques. The unusual title of this work was the result of the inadverted naming of a folder on my computer.
Performances
20171006 SHOCKOFTHE NEW, Spectrum Project Space, Kirsten Smith - flute, Dan O'Connor - trumpet, Lindsay Vickery - soprano saxophone, Luis Santos - alto saxophone, Clarine Arlidge - bass clarinet, Eduardo Cossio - electric guitar, Stuart James - prepared piano. 

172 liminario  [2017] for flute, oboe, clarinet, harp, guitar and celeste.

In the last few years I have been exploring the idea of integration of instruments with the non-anthropogenic sound world of nature and machines. Liminario takes a further step in this exploration, by convolving (electronically combining the rhythm of one recording with the pitches of another) Villa-Lobos’ Sexteto Mistico with a field recording of the Amazon rainforest. The Sextet, which I had performed as a student, had always evoked a mysterious rainforest for me and the idea was to allow literal natural sounds to overgrow the mimetic sound world of the original work. The result was a kind of surreal musicbox of sounds, dominated by the irregular but repetitive calls and chirps of animals. This recording was then “spectrally orchestrated“ by directly transcribing a visual representation of the sounds, a spectrogram, into scrolling music performed by a music box of (also slightly irregular) human musicians.
Performances
20170722 GreyWing Rio 1917: Scale Variable 2, WAAPA Auditorium

171 lines of flight [2017] for clarinet and electronics

Performances
​Studio recording
20180825 Lagavulin@The Piano Mill, New South Wales
20180826 The Cooroora Institute, Queensland 
20170930 Australasian Computer music Conference 2017, Elder Conservatorium, Adelaide.
20170523 Music Department, Universidad de Aveiro, Portugal.
20170525 MOCAP, Universidad Católica Portuguesa, Portugal.
20221208 HIAS, Hamburg.
This is a nonlinear work for clarinet and synchronized electronics. It comprises 23 sections of musical material that are presented indeterminately to the performer and a coda. The scrolling-score is presented on iPad and controlled externally for a a laptop. Sound processing involves an array of delays, pitch shifts, spectral manipulation and down-sampling.The title refers to Deleuze' concept that "Multiplicities are defined by the outside: by the abstract line, the line of flight or deterritorialization according to which they change in nature and connect with other multiplicities. The plane of consistency (grid) is the outside of all multiplicities. The line of flight marks: the reality of a finite number of dimensions that the multiplicity effectively fills; the impossibility of a supplementary dimension, unless the multiplicity is transformed by the line of flight; the possibility and necessity of flattening all of the multiplicities on a single plane of consistency or exteriority, regardless of their number of dimensions."

170 escadaria do diabo [2017] for bass clarinet and electronics

In escadaria do diabo (devil's staircase) the performer reads from a scrolling score that periodically disappears - more frequently but for shorter periods of time - according to a 60 second structure. Samples of the live performance following the same structure  are delayed and sometimes transposed and then projected into the space in an decreasing spiral pattern. The score comprises six sections based on pitches derived from the harmonic series of Ab. The title is derived from the mathematical function that divides a number into an increasing number of steps (tending to infinity) of decreasing size (tending to zero). 
Performances
20170512 Shock of the New, Spectrum Project Space.
20170523 Music Department, Universidad de Aveiro, Portugal.
20170525 MOCAP, Universidad Católica Portuguesa, Portugal.

169 wellington forest [2017] for percussion trio and fixed media

In wellington forest (2017) a spectrographic representation of an accompanying field recording is combined with temporally proportional traditional and rhythmic notation. The spectrogram was produced by “threshing” the field recording to remove all but the highest amplitude sounds (in this case frog croaks) and serves as a guide to the filed recording for the performers. Pitches are indicated via “cut out” staves or a five-line stave. Beams are used to indicate emergent phrase structures and stems are placed on the left side of each square notehead to aide coordination of the performers with the scrolling score and embedded soundfile.
Performances
​20170423 Sound Unbound Music from Visitors
20170517 Music for Our Changing Climate, LAB-14, The Carlton Connect Initiative, Melbourne.