Friday, December 30, 2016

"Trampled, Vintage Levels Above." The Score for Alto Flute, Bass Clarinet, Percussion, Piano, Violin & Cello.



"Trampled, Vintage Levels Above." 

The Score for Alto Flute, Bass Clarinet, Percussion, Piano, Violin & Cello.

Bil Smith Composer

2016

Published by LNM Editions

(Laboratorie New Music)

PDF Link to Full Score (43 pages):




























Wednesday, December 28, 2016

"Stygian Puddles". For Snare Drum. Link To PDF Score.


"Stygian Puddles"

For Snare Drum

Bil Smith Composer

2016

Published by LNM Editions

(Laboratorie New Music)

Link To PDF Score:










"Seamless Opacity In Exchange For The Promise Of Transparency". For String Quartet. PDF Score


"Seamless Opacity In Exchange For The Promise Of Transparency"

For String Quartet

Bil Smith Composer

2015-2016









Recording: "Gus Sylfolio". From The 'Electronic Frequencies' program on Concertzender curated by Roland Kuit.



Sylfolio (a neologism for ‘light’) is defined in science as an electromagnetic radiation of a wavelength that is visible to the human eye, and exhibits properties of both waves and particles. Owing to this ‘wave-particle’ duality, light remains enigmatic to the sciences.

Sylfolio’s resilient behavior is uncommon to any other waveform; for instance, light can exist in a vacuum. iIt has been examined that pulses of light traveling through a refractive material, such as water or glass, will cast off secondary pulses that travel in advance of, and outlive, the initial light pulse. These light “precursors” as they are known, consist of the various frequencies (i.e. colors) that are manifest in the initial light radiation, and change spontaneously and continuously; while the primary light wave will diminish and eventually disappear over distance, precursors continue traveling indefinitely, altering their frequencies repeatedly.

In Gus Sylfolio, Bil utilized the mathematic structure of light to generate rows, pitch groups, rhythms and other serial materials. I have isolated the numeric structures of each color of the spectrum and, I used math to generate specific scales and systems.

Then, in the method of Richard Barrett, Bil ignored all  of his own rules and attempted to create a piece of work that simply “is.”

Listen On SoundCloud:




This selection is part of the 'Electronic Frequencies' program on Concertzender curated by Roland Kuit.