Wednesday, November 30, 2016
Thursday, November 24, 2016
Saturday, November 19, 2016
Thursday, November 17, 2016
"A Subtle Grip On The Weatherboard" Flute and Piano
"A Subtle Grip On The Weatherboard"
Flute and Piano
2015-2016
A Commission from Generali Group
Sunday, November 13, 2016
Saturday, November 12, 2016
Modern Accordion Perspectives. A Composers and Performers guide by Claudio Jacomucci
Modern Accordion Perspectives.
A Composers and Performers guide by Claudio Jacomucci
Wednesday, November 9, 2016
Composers Resources - Links of Interest (The Game Changers)
"Links of Interest" I have put together a resource list of links on my site of those individuals and blogs who truly are game changing thinkers. It's a work in progress and I am still adding to this. I will be organizing them in categories and hopefully offering a brief highlight to each.
Tuesday, November 8, 2016
Recording: "Neural Intervals And Barium Infused Automatons" (2014) Bil Smith Composer
Composition for Cello, Chamber Ensemble, Inverted Equilibrium Sonic Pendulum, Exocyclic Trumpet in B flat, Schilke b3l Tunable Beryllium Bell Trumpet, Elliot Easton SG Custom OHSC Electric Guitar, Zildjian 22″ C2 Gong / Cymbal, LP Galaxy Giovanni Tumbadora, Retrosium Flute and ROLI Seaboard Grand.
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| Roli Seaboard Grand |
From the performance notes/depiction of the Inverted Equilibrium Sonic Pendulum and the Cello:
We have executed a control method for maintaining an inverted pendulum in the unstable equilibrium position. This application is a classic lesson in control science, frequently utilized in ballistic guidance. In the case of the Cello, the proportional-integral-derivative (PID) method was implemented in LabWindows and intendulum with test mass. Once optimal parameters for the algorithm were established, trials were conducted in which individual gain constants were varied while controlling string and bow pressure to observe changes in instrument behavior.
When applying bow pressure, vector fields can have several special points: a stable point, called a sink, that attracts in all directions (forcing the concentrations to be at a certain value), an unstable point, either a source or a saddle point which repels (forcing the concentrations to change away from a certain value), and a limit cycle, a closed trajectory towards which several trajectories spiral towards (making the concentrations oscillate).
Repostulate in a alternative tablature system; topological models of morphogenesis.
Recording on SoundCloud:
Sunday, November 6, 2016
"Podfarther" for B Flat Clarinet and Bass Clarinet (One Performer)
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| "Podfarther" for B Flat Clarinet and Bass Clarinet (One Performer) |
Wednesday, November 2, 2016
"South of the Central Lagoon Which Contained The Planetarium". Premiere Performance, Art Basel Miami, December 8, 2013.
"South of the Central Lagoon Which Contained The Planetarium"
for Strings, Chamber Orchestra, Piano, Live Electronics.
The following were administered to select performers based on an algorithm partially formulated using Smale's Eleventh Problem:
Transcranial Magnetic Stimulation, Adderall, Straterra, Vyvanse, Paraldehyde and Xanax.
(2013)
Bil Smith Composer.
Premiere Performance, Art Basel Miami,
December 8, 2013.
Inxiole 15.173700000171818729" from the Compaction Series
Inxiole 15.173700000171818729" from the Compaction Series
Listen On Soundcloud
The Four Dunnett's.
The Four Custom Made Ron Dunnett Snare Drums at Laboratorie New Music
A New Series of Compositions for Four Dunnett Snare Drums.
Instrument Acquisition, Compositions and Performances Courtesy of Anadarko Petroleum
Tuesday, November 1, 2016
"Substrate Sanctuary" for Orchestra, Choir, and Tape
"Substrate Sanctuary" for Orchestra, Choir, and Tape (2013) - Bil Smith Composer
review...
"...on the other hand Smith's work is ruminative, contemplative, and perhaps a touch melancholic, possessing what one might call sonic ambivalence.
His bold yet delicate orchestration and the elegance of his post-complexity gesture arise from his conviction that a text score's narrative power lies in its ability to reach the bone of an idea by flensing off excess flesh and fat.
He believes in disturbing those complacent conventions of narrative sprawl that serve to muddle the craft of compositional notation.
He does not indulge in leaps of imagination for their own sake, but aspires to create a fictional realm that was recognizably continuous with observed reality, of a piece with the actual world in which the work resides and performs its historical argument."
Mike Barnes - "The Guardian"