Miss Harrison's Secateurs

Late last year, the Royal Horticultural Society began a hunt to find 'Miss Harrison' as she was denied a horticulatural scholarship in the early 20th century on the basis that she was a woman. This celebrates piece echos my enthusiasm in the hunt to find her. More information can be found below:

https://www.theguardian.com/books/2018/sep/22/unsung-women-emerge-from-footnotes-of-history

The score can be found below:

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Whisky kilo november alpha

A simple piece based on four ways of presenting combinations. 

The score can be found below:

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'doad' for solo cello continues my interests in maximally diverse entities, this time using dyads (or 'doads') to generate a static, unchanging texture. Placed in groups of threes, the rhythmic ordering is true to its process which contrasts the order of dyads, which are mapped onto the rhythms using three random generators. 

I hope to write three more pieces of exactly the same length, (one viola piece and two violin pieces using exactly the same process, where the dyads will be relative to the instrument). The option then will be for these to be played either as individual pieces for solo instrument, one after the other (violin 1, violin 2, viola and cello respectively), or all four pieces simultaneously.

The score can be found below:

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The title for Horn Study has a rather humorous back story. The idea was to mirror the pitch process used in the piece by using two randomly generated words, one 4-letter and one 5-letter. I went to my random generator and, completely by chance, the two words that came out were 'horn' and 'study'...the worlds first horn study not written for horn! 

The piece is built using quartal and quintal harmonic fragments and 'Feldman-esque' shifting 5/4 cells that run throughout. 

The score can be found below:

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This piece started life as a work for solo piano, exploring maximal diversity of different 'found' encyclopedias of jazz chords. It evolved after finding a list of jazz scat syllables, eventually becoming a piece for quintet. 

The works texture is unchanging and, in some way, links to my current interests in 'single-idea music' and use of process. 

The score can be found below:

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Written for organ in November 2018, this piece is in keeping with my current interest in presenting process in its most basic form, allowing the listener to hear exactly how the piece is written - with no added extras, no accentuations or intuition during the compositional process. 

I have made two recordings so far of this piece, the first where both manuals and pedals use one single 8' flute and the second where the sounds for each manual and pedal are different (although all still at 8' pitch). I was undecided which way to lean in specifying registrations, so I have left it down to the performer. 

The score can be found below:

PDF download