DIMENSIONAL SHIFT – (OPEN INSTRUMENTATION)
“Three dimensions seems almost as visionary as the Land of One or None.”(Abbott, E. A., 1885)
HEllSCAPE – (ELECTRONICS)
As the gates of hell open one can hear the tortured screams…
thoughts on chance and indeterminacy – a composition – (INTERNALISED SCORE WITH THE OPTION OF BECOMING EXTERNALISED)
Designed to accompany a poster-presentation at the BFE/RMA Student Conference 2019 at the University of Sheffield. This composition is created to be heard internally. As the title suggests, this score presents my current thoughts on chance and indeterminacy as of the conference.
MUSCIKELL – (OPEN INSTRUMENTATION)
A musical game based on Faybell and Phrasell from the Wibbell++ series by Bez Shahriari.
ORIGINAL IMITATION – (WOODWIND AND MULTIMEDIA)
An excuse to start to learn how to code, use my AtariST and purchase a Pi, this piece is a demonstration how someone with little-to-no coding skills can create an interesting score. Bonus: I got to play with glitched gameboy games.
THE DESTINATION IS OBSOLETE – (SOLOIST AND ENSEMBLE)
A musical game of mistakes; the ensemble aim to match the pitch of the soloist, while the soloist travels up from the bottom to the top range of their instrument via randomly generated instructions. The ever-changing score creates an environment where the ensembles task becomes almost impossible. But as Spock once said in Let That Be Your Last Battlefield (Star Trek the Original Series, Season 3, Episode 15, 1969) “Change is the essential process of all existence.”
The harmony and timbre are born in the misjudgements.
COHERENCY IS FUTILE IN FLUCTUATING FRAGMENTS – (SOLO VIOLA)
An exploration in to randomly noted fragments for solo viola.
N0t4t10n 3xp6r1m6nt5 f0r C1rcu1t-B6nt 70y5 – (MIXED NOTATION)
An exploration into possible notation for Circuit Bent Toys.
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)
This piece was in response to a performance demonstration by the CCCU Scratch Orchestra of my/their Circuit Bent Toys.
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.
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.
REFLECTION FOR PIANO – (SOLO PIANO)
Reflection is the second piece in An Introspective Piano Suite, and combines Aleatory and Serialism in a Minimalistic manner.
CONTINGENT EXTEMPORISATION – (DICE-LED OPEN IMPROVISATION)
Contingent Extemporisation is less a composition and more instructions for dice-led group improvisation.
(The list of dice available on the score is currently out-of-date, but can still be used as a guideline).
A WORK OF FICTION: A THRONE OF GAMES – (OPEN/TEXT BASED NOTATION)
Prime numbers, Oullipo techniques, meaning out of nothing, shakespeareanesque monologue. Read More…
THE CONSEQUENCES OF HOLDING ONTO HATE – (CELLO QUARTET)
Composed for a workshop at COMA Summer School 2015, this piece is one of my more delicate works. Using extended notation randomly assigned, over a set amount of time, the performers explore the edges of the pitches with varying an increasing intensities.
STRIVING TOWARDS – (VOCAL/GRAPHIC NOTATION)
An exploration of space and sound utilising some of the ideas from Nick William’s Sabotage Songs (2013).
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.
WHAT IF? THE HANSEL & GRETEL TALE – (GRAPHIC NOTATION)
What if Hansel and Gretel where the ones at fault? What if the “witch” was just minding her own business when two children started to devour her home?
IT TAKES ALL SORTS – (VOCALS/GRAPHIC NOTATION)
Performers are invited to explore their sense of taste, smell and touch and interpret them vocally to create a pick ‘n mix of sound.
In retrospect, I was informed by a friend of mine that I had composed a piece which explores some of the senses in a heightened fashion, providing the performers with some mild experience of what taste, smell, and texture can be like for some autistic individuals, such as myself. Read More…
MINE! (ME! ME! ME!) – (OPEN/TEXT BASED NOTATION)
What happens when you let musicians inner divas thrive, whilst making them share their favourite toys?
WALTZING IN HIS SHADOW: “I REMEMBER THE FIRST TIME WE DANCED – (SOLO PIANO)
A minimalist piano solo inspired by Philip Glass’s Metamorphosis and other piano pieces.
MOTHS IN THE MOONLIGHT – (VIOLA, AND 2 WHISTLERS/RECORDING)
This was my first introduction to using some of the serial techniques. Although not 12-tone, the score uses one motive and applies it in its various iterations.
SUITE PI FOR PIANO: DIGITS 1 – 16 (3.141592653589793) – (SOLO PIANO)
My first attempt at assigning pitches to numerals that are not random in nature. I hope to revisit this series one day, and continue it. The original concept is that with each selection of numerals, the piece’s key, or tonal home, would cycle through all keys using the circle of fifths.
BURNING THE BATTLE FIELD – (STRING QUARTET)
The fire burns to purify our sins,
Of Man’s indiff’rence to other Men’s sorrows,
Of the cries of the pure.
The fire burns but the sins remain,
Little by little burning away our souls.
We douse the flames with empty words,
Squabbling away like children o’er broken promises and tit-for-tat.
While the world burns, we perfect our pettiness,
Building palaces of self-indulgent pride,
Like barbed wire scratching,
Choking us as we “keep calm and carry on”,
Numb to the blistering sensation that surrounds us,
The embers will die, but so shall we,
The Earth will survive,
Purging itself of the sinners to protect the remaining innocent.
Man can either die – burning on the battlefield,
Lost to time,
Or be reborn in the ashes,
Praying that our children learn from our mistakes.
(Jason Hodgson, 2019)
MUSIC OF THE UNKNOWN – (OPEN NOTATION/GRAPHIC SCORE)
As the title suggests this piece explores the unknown by providing a space for the audience to doodle or write musical ideas that the 2 ensembles and a soloist interpret live whilst being conducted by 2 conductors, one the ensemble director and the other an audience member.
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. Read More…
CHAOTI CONTROL – (BRASS QAURTET)
My first attempt at creating a piece using aleatory. Read more on the CCCU MPA Blog.
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.
A second version was arranged and performed for the Inspiration Inclusive Theatre’s 10th Anniversary.
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.