"Hammock Hanging Upon Girders Like A Weary Pupa". The Score for Bass Clarinet or Baritone Saxophone

"Hammock Hanging Upon Girders Like A Weary Pupa"

The Score for Bass Clarinet or Baritone Saxophone

Bil Smith

Commissioned by Getinge

2017

Published on LNM Editions

(Laboratorie New Music)

"Liquid Biopsy And The Balloon Revolution" for Solo Contrabassoon PDF Complete Score)

"Liquid Biopsy And The Balloon Revolution" 

for Solo Contrabassoon

Bil Smith Composer

2015-2016

Commission from Canadair

Link To Full Score PDF

https://drive.google.com/file/d/0B5lqYq0XwE76OWZPcE5GM0tuUW8/view?usp=sharing

"Out of the Remnants of Their Allotment". The Full (PDF) Score. For Three Flugelhorns and Three Cellos.

"Out of the Remnants of Their Allotment".  

Bil Smith Composer

The Full Score.  

For Three Flugelhorns and Three Cellos.

https://drive.google.com/file/d/0B5lqYq0XwE76VEhoRHJjSlhBX3c/view?usp=sharing

There are Laws of Randomness...

Randomness has been a big process in music, but randomness means laws. It’s a way of calculating.​There are laws of randomness...calculations of randomness. 

And so it’s just a particular form of the occurrence of physical laws. It’s a way of anticipating, and it is completely normal. 

In certain compositional structures, if you break laws which are fundamentally random, you can’t find yourself again in randomness.  

It is not the same incident. 

"Surflex" For E Flat Trumpet

"Surflex" 

For E Flat Trumpet

Bil Smith 

A Vignette

Commissioned by Bechtel 

""Eventual Confidence" for Solo Guitar

"Mimetized Disasters, Dan Quayle And His Evangelist Wife In A Hotel Room". The Score and Transparencies

"Mimetized Disasters, Dan Quayle And His Evangelist Wife In A Hotel Room". Page One

"Mimetized Disasters, Dan Quayle And His Evangelist Wife In A Hotel Room". 

Instrumentation:

Euphonium

Piccolo Saxophone

(Eppelsheim - Soprillo)

Contraforte

(Eppelsheim-Wolf)

Dynoresonant 

B Flat Trumpet

The Score and Transparencies

Bil Smith Composer

A Commission from Time Warner

"Mimetized Disasters..." explores a rhythm that abandons counting, that engages with speed and duration as primary rather than secondary occurrences, and that emerges through the interface between movement and resistance and from models of force, viscosity, and friction. 

In this work, I examine some of the limitations of existing rhythmic notation and, using examples from non-geometrical’ notational approaches. I had been struggling for some time with concerns about an increasing prevalence of notational grids, and

in particular the overwhelming dominance of the horizontal and the vertical in the notation of rhythm

Hyper- Appropriation:

The (The) inevitable violation.  A perfect conversion of the objective sum and a precise allusion.

Transparency One

Transparency Two