Sunday, October 29, 2017

"The Bare Lathes Intertwined with Creeper and Wire-Moss" Recording

"The Bare Lathes Intertwined with Creeper and Wire-Moss" 

Bil Smith Composer


Commission from Pemex (Petróleos Mexicanos)for Chamber Orchestra, a work predicated on 'Compositional Bounding Theory', a theory about the locality of movement. The main principle of Bounding Theory is the Subjacency condition, which forbids movement across more than one bounding node (i.e. tablature).
for Chamber Orchestra; Coloratura Soprano (Obstruent Phonology); Soubrette (Siblancy: Fricative speech sounds with high frequency); Spinto Soprano (Strict Cyclicity); IGT Wild Cherry Spinning Wheel Slot; IGT 2x3x4x5x Red Hot 7s™ Spinning Reel Slot; IGT Hot Roll® Ca$h Ca$h Ca$h™ Video Slots; IGT Megabucks® Crystal Sevens® Slot; WMS Dashing Dolphins Slot; Wicks Century 5 Pipe Organ; Paiste 24' Venus Gong; Waldorf Blofeld Synthesizer; Hellfire Modulator, an analog, tube-based distortion rack-module; Formanta Polivoks Synthesizer; ESP jeune fille X Gips -Cross Ray- Moi dix Mois MANA Signature Model Electric Guitar.

"Emblematic Suctusstupratio" for Orchestra" The Recording

"Emblematic Suctusstupratio" for Orchestra"  The Recording 
Bil Smith Composer.
This commission from a private sponsor was dictated by a strict adherence to a "Prescribed Multidimensional Network."
The pertinacious intent was to create a redundancy abject diverse procedural element. In the score, there is a complexity represented through moments of extreme sonic and physical activity as well as a a high degree of timbral diversity. In consideration of the score and the performance, I wanted to portray an enormous illuminated painting, unsettled, however with an intense detail.

Saturday, October 28, 2017

"Noche". For String Trio. PDF Link To The Full Score.


For String Trio.

Cello, Viola, Violin.

Bil Smith Composer


A Commission from Icelandic Water

Link: The Full Score

“Immobile Glorious and Eternal” for Solo Flute

“Immobile Glorious and Eternal”

for Solo Flute

(The score is the dominant; the performance, submissive)

Bil Smith Composer


Commissioned by Veolia & TF1 Group

Excerpts from the 84 page score

"Neural Intervals And Barium Infused Automatons" . The Recording

"Neural Intervals And Barium Infused Automatons" 

The Recording:

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.
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.

"The Oligarchy" Bil Smith Composer The Recording

"The Oligarchy" Bil Smith Composer
The Recording:
"This may be Bil Smith"s most revolutionary message, I think, it is also probably his simplest: the subject must take responsibility for his own subjectivity.
This is a message nobody wants to hear. Especially not today, when the drink of choice is postmodern skepticism: "I am aware of what I am doing but I do it anyway." Smith takes aim at the post-structuralist, the postmodernist, the post-whateverist, the empty Foucauldian fad, the politically correct, the practicing non-believer, the all-too-comfortable victim, and then he throws lots of vegetables at their big silly phallic performance.
Let's remember what his music surmises.
Smith, is very good in his particulars and has a consummate grasp of the great composers of the modern age.
Musical ideology for Smith (the theoretical Multimodality and Compaction themes) is something that is constantly spat out, in contradistinction for whom it is all subsumed, refined, and processed into knowledge which, is solid as a Slovenian sausage and as unsavory in its mode of production.
For him, there is no sublime except in the twilight of life's contradictions, where concepts of being and time are turned on their heads like salt and pepper shakers.
Again, as we listen, we are startled by Smith, the composerist's itemized insights as much as we are baffled by the way he waffles between abhorring and embracing popular culture and between expostulating and identifying with advocates of sonic democracy.
In all, this recording is like an old roller coaster beefed up with modern metallurgy, and wanting more of that; but at its best down deep, dips where the wood shakes."
-Richard Wilde

"Ian Monk" for Prescript Chamber Ensemble: A Compaction Music. The Recording

"Ian Monk" for Prescript Chamber Ensemble (Oulipo Posentante)
The Recording:
In 2010, I was approached by a unique individual by the name of Bernard Charron (not sure it was his real name). He asked me about my music and we moved onto the subject of literature and writing. This led to a lengthly discussion about the Oulipo and our respective opinions about their oeuvre. Some months later he contacted me and asked if I would be interested in writing short musical 'vignettes' as he described them, mimicking the Oulipian aesthetic utilizing my "compaction music" techniques.
About The Oulipo...
By"working under constraint" they have raised their level of consciousness because -- their dictum -- if an author does not define his or her constraint, the constraint will in turn define their work for them.

Such a level of consciousness controls how they are perceived, and received. Their relationship with the past, their work with literary genres, and their capacity to shape their own reception,outlines a relationship with literature with which postmodern theorists ought to be acquainted.

"Forgotten Algebra Of The Random Sky" The Recording

Excerpt from the score

"Forgotten Algebra Of The Random Sky"
The Recording:

for Orchestra and Melodaphone Hyperbare, Membrane de Platine Tronquée, Néodyme Accéléré Trompette à Coulisse, Résonance des Hydrocarbures, Hadril Isotopique, Transparent Chambre de Cloud Peresium Bols, Yttranium non Conducteur et Opaque Rhodogen
Bil Smith Composer (2013)
A Commission from Électricité de France (EDF)

Friday, October 27, 2017

Topographic Media for Flugelhorn

Assumption "A": Rhythmical Performance Suggests Continuity and Discontinuity

It is assumed here that a rhythmical performance will suggest continuity and discontinuity at one and the same time; a non-rhythmical performance will suppress either the continuous or the discontinuous aspect of the compositional structure. How can we know whether a delivery instance displays at this point continuity or discontinuity or both? 

We might say that we know that a delivery instance (delivery = notational gender) is continuous or discontinuous or both by listening, just as we see that the book is read by looking, or as we tell that the tea is sweet by tasting it. 

By listening to two delivery instances of this verse instance, we may prefer one to the other according to whether it does or does not suggest continuity and discontinuity at the same time. We can also establish the aural correlates that make these suggestions. 

The present approach assumes that continuity and discontinuity can be suggested at one and the same time by using conflicting musical cues, thus committing "organized violence" against performance processing. This cannot be done by merely looking at the notational output, only by listening to the sound output. 

As composers, we must provide ample empirical evidence that flesh-and-blood performers do, indeed, attempt precisely these solutions. We are also compelled to provide precise empirical evidence that those vocal devices do have, indeed, the predicted effect (though this requires further, and more rigorous, experimentation ).