Following is a list of my compositions by year. Overtime links will be added to some of these to recordings, scores, or links to where you can purchase the scores, along with short descriptions of the pieces.
Original Imitation (Woodwind and Multimedia)
The Destination is Obsolete – (Soloist and Ensemble)
COHERENCY is futile in fluctuating Fragments – (Solo Viola)
Notation Experiments for Circuit Bent Toys – (Mixed Notation)
LIONHEART1189 – (PERCUSSION AND VOICE)
Combining some medieval notation, with some modern graphic notation, LionHear1189 looks at what could happen at the unboxing of the first mail-order computer in the medieval age.
A piece for Percussion and Voice, this piece was commissioned by Chris Brannick and Sarah Stowe for the Hay-On-Wye Festival (Premiered on 22nd April 2016).
PLastic Face – (Circuit-Bent toys, Voice, and Electronic Editing)
A MUMMERS’ FARCE – (SOLO PERCUSSION OPERA)
A tale of fantasy, intrigue, adventure, and duplicity, based on a Dungeons & Dragons® campaign I observed.
This pieces uses extended percussive techniques to create an other-worldly atmosphere.
REFLECTION FOR PIANO – (SOLO PIANO)
The second piece in An Introspective Piano Suite, Reflection combines Aleatory and Serialism in a Minimalistic manner.
A THOUGHT – (SOLO PIANO AND SPOKEN WORD)
The final piece in An Introspective Piano Suite, summarise my thoughts and feelings on music at the end of my Bachelor of Music degree.
Contingent Extemporisation – (Open/Chance based Improvisation)
A WORK OF FICTION: A THRONE OF GAMES – (OPEN/TEXT BASED NOTATION)
THE CONSEQUENCES OF HOLDING ONTO HATE – (CELLO QUARTET)
STRIVING TOWARDS – (VOCAL/GRAPHIC NOTATION)
SUNDAY DRIVE – (SOLO PIANO WITH VOICE)
Part of An Introspective Piano Suite, Sunday Drive is inspired by ‘Midnight Sun’ by Stephen Montague, and composed between December 22nd – 23rd 2015, Sunday Drive is dedicated to Dr. Sam Bailey, who taught me piano while I was studying my Bachelor of Music. Before that, I had lost my love for playing the piano. Although my focus is more on composition these days, my love for the piano is stronger than it’s ever been.
You can find the score in the full Introspective Piano Suite.
WHAT IF? THE HANSEL & GRETEL TALE – (GRAPHIC NOTATION)
IT TAKES ALL SORTS – (VOCALS/GRAPHIC NOTATION)
MINE! (ME! ME! ME!) – (OPEN/TEXT BASED NOTATION)
What happens when you let musicians inner divas thrive, whilst making them share their favourite toys?
MOTHS IN THE MOONLIGHT – (VIOLA, AND 2 WHISTLERS/RECORDING)
SUITE PI FOR PIANO: DIGITS 1 – 16 (3.141592653589793) – (SOLO PIANO)
BURNING THE BATTLE FIELD – (STRING QUARTET)
MUSIC OF THE UNKNOWN – (OPEN NOTATION/GRAPHIC SCORE)
LANGUAGE IS A FICTICIOUS FACT – (GRAPHIC NOTATION)
My first and currently only 3-Dimensional graphic score which explores the strange nature of the English Language. Click Here for more in-depth information. Above, is a playlist of various performances of the piece.
You can find a collection of photos of the score by Clicking this Link.
AN ODE TO DEATH AS LIFE GOES ON – (CLARINET IN BFLAT, AND PIANO)
I was a member of the Inspiration Inclusive Theatre for some years. During this time I composed a piece for one of there darker productions Nicholas Nickleby (by Charles Dickens). Though it has yet be performed with live instruments, the electronic rendition added sorrow to the scene of Spikes passing.
This score was composed as part of The Art of Sound Project with the Pie Factory, for the Turner and The Elements Exhibition at the Turner Contemporary Art Gallery.