"Puddleprance" for Tuba. Bil Smith Composer

"Puddleprance" 

for Tuba

Bil Smith Composer

Link to PDF

https://drive.google.com/file/d/1reJ8E0Fa3Yj1XmltqBDaWNaw_MoVhh9e/view?usp=sharing

 

"Rhetorical Reverie" for Vibraphone. Bil Smith Composer

"Rhetorical Reverie" 

for Vibraphone.

Bil Smith Composer

PDF Link

https://drive.google.com/file/d/1eVDoTaYIEYg6u8wl00L_RbIeUQhxwdoB/view?usp=sharing

 

The Power of Visual Representation: An Investigation into Non-Traditional Music Scores

 

Piece for Tuba

As the sphere of music composition continues to evolve, we find ourselves at a crossroads of sorts, with emerging technologies and approaches vying for our attention and allegiance. One such approach that has recently captured the imagination of composers and theorists alike is that of hyper-complex visualized scores. These scores, which combine intricate musical notation with highly abstract visual elements, offer a new way of understanding and engaging with musical composition, one that draws heavily on the work of thinkers such as Wilhelm Reich and Roland Barthes.

At its core, these radical scores represent a departure from traditional methods of musical notation. Rather than relying solely on written symbols and conventions, these scores incorporate a wide range of graphic elements, from abstract shapes and patterns to representational imagery and text. The result is a kind of synesthetic experience, where the visual and auditory elements of the music are intertwined in a complex and dynamic relationship.

But what are the implications of this new approach to music composition? For one thing, it raises questions about the role of notation in the creative process. Traditionally, musical notation has been seen as a kind of neutral medium, a way of encoding musical ideas in a way that can be easily shared and communicated. But with hyper-complex visualized scores, the notation becomes an integral part of the creative act, shaping the music itself in profound ways.

This shift in emphasis also has implications for the way we think about musical interpretation. In a traditional score, the written notation provides a kind of roadmap for performers, guiding them through the various elements of the music and helping them to bring it to life. But with hyper-complex visualized scores, the relationship between notation and performance becomes much more complex. Rather than simply following the written instructions, performers must engage with the visual elements of the score, interpreting them in a way that is both creative and responsive to the musical ideas being presented.

This brings us to the work of Wilhelm Reich, who saw the human body as a kind of musical instrument, capable of expressing and responding to the subtle nuances of sound and vibration. For Reich, music was a way of accessing the deep emotional and psychological energies that underlie our experience of the world. In a sense, hyper-complex visualized scores represent an extension of Reich's vision, offering a new way of accessing and expressing these energies through the medium of musical notation.

At the same time, hyper-complex visualized scores also draw heavily on the work of Roland Barthes, who famously wrote about the "death of the author" and the ways in which the meaning of a text is constructed by the reader, rather than by the author. This idea of the text as a kind of open, generative space is key to understanding the possibilities of hyper-complex visualized scoring. By creating scores that are at once highly structured and highly abstract, composers are opening up a space for interpretation and engagement that is far more expansive than traditional methods of notation.

But what are the challenges of working with hyper-complex visualized scores? For one thing, they require a high degree of technical skill and visual literacy on the part of both composer and performer. Unlike traditional scores, which can be read and understood by musicians with a relatively limited set of skills, hyper-complex visualized scores require a deep engagement with the visual elements of the music, as well as a willingness to experiment and take risks in the performance of the music.

At its core, hyper-complex visualized scoring can be understood as a fundamentally liberatory practice, one that seeks to subvert the hierarchical power structures that have long governed the creation and reception of musical works. In Reich's theory of orgonomy, for example, the human body is understood to be the primary locus of creative energy, with the production of musical works seen as a manifestation of this innate biological process. By extension, the role of the composer is not to impose their will upon the material, but rather to act as a facilitator, channeling the energy of the body into a coherent sonic form.

Similarly, Barthes' semiotic theory posits that meaning is not fixed or stable, but rather arises out of the complex interplay between signifiers and signifieds. In this sense, musical scores can be seen as a kind of language, with each note or symbol carrying its own unique set of associations and connotations. By embracing the inherent ambiguity and multiplicity of the musical language, hyper-complex visualized scores have the potential to create new forms of meaning that challenge conventional modes of interpretation and understanding.

Of course, the use of hyper-complex visualized scores also raises a number of significant challenges and questions. One of the primary concerns is the potential for these scores to become overly insular and elitist, catering only to a select group of highly trained musicians and scholars. This danger is particularly acute given the highly specialized vocabulary and notation systems that often accompany hyper-complex scoring, which can make it difficult for newcomers to access and engage with the works.

Another potential issue is the risk of over-reliance on technology, with composers and performers becoming too reliant on digital tools and software to generate and interpret the scores. This not only raises questions about the authenticity and originality of the works themselves, but also runs the risk of further entrenching existing power structures within the music industry, particularly with regard to the distribution and consumption of musical works.

Ultimately, however, the potential benefits of these scores far outweigh these challenges, particularly in terms of the ways in which it can disrupt traditional notions of musical authorship and interpretation. By foregrounding the role of the body, and by embracing the inherent ambiguity and multiplicity of the musical language, hyper-complex visualized scores offer a radical alternative to the hierarchical power structures that have long dominated the music industry. In so doing, they provide a powerful tool for artists and audiences alike to explore the myriad possibilities of musical creation, and to imagine new futures for the art form as a whole.

Follicle Design Explained" for B Flat Trumpet

 

"Follicle Design Explained"

For B Flat Trumpet

Bil Smith Composer

"Venerated Schism" For CC Tuono (Meinl) Tuba

"Venerated Schism"

For CC Tuono Tuba

"The Soft Bulk Of The Yellow Pages Padded Sylvano Bussotti's Thighs" For Violin

 

"The Soft Bulk Of The Yellow Pages Padded Sylvano Bussotti's Thighs"

For Violin

Bil Smith Composer

Published by LNM Editions

Link to Full Hi-Res PDF Score

https://drive.google.com/file/d/1PovBHwTm_GubB19DWxxj5O3AbTibQsdX/view?usp=sharing

"Altustra" for Piano. Bil Smith Composer.

 

"Altustra"

for Piano

Bil Smith Composer

A Homage to John Baldessari

"Something About His Salted Face Or His Strangely Menacing Mildness" For Solo Voice

"Something About His Salted Face Or His Strangely Menacing Mildness" 

For Solo Voice

Bil Smith Composer

Published by LNM Editions

Link to Hi-Res PDF Score

https://drive.google.com/file/d/1TUfi3Sgo2ylo6T52zppUsOrw79Al620I/view?usp=sharing

Commentary and Analysis Written by Cormac McCarthy

Within the sphere of contemporary vocal music, "Something About His Salted Face Or His Strangely Menacing Mildness" stands as an epitome of the limitless potential of the human voice as an instrument of artistic articulation. It pushes the boundaries of auditory perception, inciting intellectual contemplation and emotional immersion in equal measure.

Smith's fascination with gutturalisms lies in their primal, visceral quality. They embody the most elemental aspects of human vocalization, reaching deep into the corporeal substratum of sound production. Guttural utterances, produced from the throat and lower vocal tracts, transcend the constraints of conventional phonetics. They are raw, unmediated expressions of the human voice's inherent potential for sheer emotional intensity.

In the vocal interpretation of this score, gutturalisms serve as a portal to the performer's primordial self. They challenge the vocalist to discard linguistic norms and delve into the reservoirs of the subconscious. Through growls, grunts, and primal vocalizations, the vocalist'spure emotional resonance reigns supreme.

Hyper-Neologisms: The Fracturing of Linguistic Constructs

Smith's penchant for hyper-neologisms transgresses linguistic conventions, giving birth to a lexicon that exists solely within the confines of this composition. These linguistic novelties are not meant to convey conventional meaning; instead, they serve as potent vehicles for the embodiment of abstract emotions and conceptual abstractions.

In the vocal interpretation of this score, hyper-neologisms become vessels for the dissolution of linguistic boundaries. Performers grapple with phonemic sequences that defy traditional syntax and structure. They navigate a terrain where words themselves become malleable, and language is stripped to its phonetic essence.

The vocal performer, burdened by the onus of interpretation, navigates this aural labyrinth with a courage and dexterity akin to an acrobat on a precipice. Whispers oscillate to primal screams, traversing the precipitous chasm between vulnerability and unbridled intensity.

This journey is one of transcendence. The performer becomes an alchemist, transmuting sound into emotion, abstraction into embodiment. The vocal cords, palate, and resonating cavities become tools for the creation of sonic tapestries that defy linguistic categorization.

"Something About His Salted Face Or His Strangely Menacing Mildness" stands as an epitome of the limitless potential of the human voice as an instrument of artistic articulation. It pushes the boundaries of auditory perception, inciting intellectual contemplation and emotional immersion in equal measure.

 

NEW PAGES TO SCORE: "The Magnesium Device Whose Undulations Lulled Me Into the Illusion" for 'Maroon' (A Newly Designed Brass Instrument from Thomas Inderbinen)

for 'Maroon' (A Newly Designed Brass/Trumpet Variation from Thomas Inderbinen)

Bil Smith Composer

Published by LNM Editions

About 'Maroon':

"Maroon" is a newly developed instrument from Thomas Inderbinen. It is played with a trumpet mouthpiece but the construction is more like a flugelhorn. The Maroon is characterized by a very big, warm sound which can nevertheless be centered in the direction of a trumpet. It has an unbelievably easy response in the low as well as in the high register. In the words of Inderbinen "The barriers between trumpet and flugelhorn have fallen, and a new dimension in the sound of wind instruments has been created."

The first three pages of the score with inspiration from Lucio Fontana, Mimmo Totaro, Cage's Fontana Mix and Neville Brody.  

Published by LNM Editions

Constant Marble SlitBreaker for Alto Flute

"Constant Marble SlitBreaker"

 for Kingma System Alto Flute

Bil Smith Composer

Published by LNM Editions

"Galador" for Piano. 3'16". Bil Smith Composer

"Galador" for Piano.  

3'16" 

Bil Smith Composer

The score for "Galador" presents a fusion of conceptual schemata, evoking geometrical figures, numbers, and cryptic notations reminiscent of an artist's notebook. This collage of symbols, akin to Boldano's fragmented narratives, invites the viewer—or in this case, the pianist—to navigate a complex web of meanings and associations.

The paradox within "Galador" lies in its simultaneous embrace of contemporary epistemology and the retention of the values of pictorial sensibility. It pushes the boundaries of artistic expression, embracing both the intellectual and the sensual aspects of compositional interpretation. The score employs diagrams, modular structures, and serial arrangements, alluding to the universals of mathematics and linguistics. These elements serve as a testament to the ever-evolving nature of composition's ability to adapt to new forms of expression.

The use of graphic elements mirrors the calligraphic tradition of Twombly's painting, imbuing the composition with an expressive, gestural quality. It is as if the score becomes a canvas upon which the composer's emotions and interpretations are painted.

The exploration of graffiti-like symbols and abstract forms within "Galador" harks back to a fascination with the mundane and the everyday. Like graffiti scrawled in unexpected places, these symbols in the score provide sociological referents, inviting the pianist to contemplate their meaning and significance within the context of the composition.

The rejection of Surrealist automatism in the later stages of "Galador" parallels the shift from superimposed layers of graffiti to recognizable clues and regressive imagery reflects a desire to engage with the performer on a more visceral level.

 

Spatial Constructivism

 

Spatial Constructivism is a term I use to define an unconventional notation that is complex and requires a virtuoso with exceptional musical and cognitive abilities to execute. This system is based on the principles of paratactic and dissipative structures, as well as on the principles of Constructivism in art and architecture.

It is deliberately difficult to interpret and execute.

It is paratactic in structure, meaning that it is composed of a series of distinct and independent units that are juxtaposed with each other in order to create a larger whole. These units may be individual notes or compound diagrammatic notes, or they could be more complex musical phrases or sections.

Each unit is represented in the notation system by a unique symbol or graphic element, and the performer is required to interpret and execute each unit individually, while also integrating it into the larger context of the piece.

At the same time, the notation system is dissipative in nature, meaning that the performer would need to constantly adapt and respond to changing musical and cognitive contexts. The system might involve elements of chance, forcing the performer to react spontaneously to unexpected events or stimuli.

Additionally, the notation incorporates elements of feedback or self-correction, allowing the performer to modify their approach based on the results of previous performances or on real-time sensory input.

There is a clear emphasis on the use of geometric forms and patterns, as well as the manipulation of space and perspective, in order to create a sense of depth, dynamism, and interactivity within the notation system. This system incorporates elements of visual art, such as colors, textures, or shading, in order to convey information about tempo, dynamics, or other musical parameters.

The score is developed based on the idea that music can be thought of as a physical construct that exists in space and time. This construct can be visualized as a three-dimensional object with multiple dimensions, each representing a different aspect of the music, such as pitch, duration, volume, and timbre. These dimensions can be manipulated in space, creating a complex interplay between the various elements of the music.

"An Air of Eerie Exoticism" For Clarinet and Flute. For Hanan Hadzajlic, Flute and Vasa Vučković, Clarinet

"An Air Of Eerie Exoticism"

Flute and Clarinet

Bil Smith Composer

For Hanan Hadzajlic, Flute and Vasa Vučković, Clarinet

World Premiere, June, 2017

Link to Full Score:

https://drive.google.com/file/d/1mbuDisEPh0nOrop4nzMQ6qWYGuqmzL1W/view?usp=sharing

"Stellum" for Oboe. The score. A Commission from BAE Systems

"Stellum" for Oboe.

Analysis and Commentary by Lawrence Ferlinghetti

Upon perusal of the score, one is immediately confronted with a paradoxical directive. The oboist is thrust into a world where the conventional techniques and structures of music are abandoned in favor of uncharted sonic territories. This is a realm inhabited by what are colloquially known as "twentieth-century techniques," a lexicon of sounds that defy tradition and convention.

These techniques encompass a myriad of unorthodox methods for coaxing sounds from the oboe's wooden form. Alternate fingerings dance alongside harmonics, multiphonics harmonize with double trills, and trills with microintervals beckon the performer to tread perilously close to the edge of musical convention. Among these techniques is a peculiar effect known as "over-blowing," a technique shrouded in mystery, entailing alternate fingerings and heightened air pressure. But here's the Kafkaesque twist—Smith, the composer, refuses to provide explicit instructions for these avant-garde effects within the score.

Much like Kafka's protagonists who find themselves navigating bureaucratic mazes, Smith thrusts the performer into a realm of ambiguity and uncertainty. The oboist is left to navigate the score's labyrinthine passages without a map, guided only by intuition and collaboration. This act of collaboration is itself a Kafkaesque metaphor—a reflection of the interconnectedness and shared responsibility inherent in the creative process.

Yet, "Stellum" for Oboe is more than just a collection of avant-garde techniques; it's a manifestation of the Freudian subconscious through sound. Smith's score transcends mere notation; it plunges into the depths of the oboe's voice, merging content and form into a hypnotic continuum. The oboist's breath becomes a medium for prosaic utterances that lull the listener into a state of eerie clarity, only to thrust them into the surreal landscapes of the mind through free-form associative patterns.

As the oboist embarks on this auditory odyssey, the score blurs into uncannily vivid scenarios. It's as though the performer's very eyes are fed with imagery—a Freudian-style shopping list of the subconscious. The oboist's breath becomes a vessel for the surreal, a conduit for the uncanny, and a portal into the depths of human cognition.