Friday, October 30, 2026
Excerpt from New Score. A Solo Work for Oboe.
This new commission for solo oboe defies conventional norms, harnessing the interplay between visual art and sonic expression. Its creation is underpinned by a visionary synthesis, melding the complex techniques of Sheila Hick's fabric art with the fluorescence of Flavin's work and the spatial dynamism inherent in the canvases of Fontana and Castellani. This amalgamation yields a composition that challenges preconceptions, paving the way for a novel auditory journey.
At the heart of this innovative composition lies a profound departure from the norm. The score's nontraditional layout on the page is, in itself, a visual statement. It beckons the performer to explore new territories, much like the artists who inspired it.
Central to the piece's identity is the deliberate use of "image-breaking" techniques. Just as Fontana pierced the canvas and Castellani manipulated surfaces, this oboe Sequenza embraces the art of rupture, defying sonic boundaries. The sonic "image" of the oboe undergoes fragmentation and reassembly, inviting the listener into a new auditory domain.
The piece's morphological aspect, a captivating feature, arises through a mesmerizing range of techniques. Multiphonics, alternate fingerings, double trills, trills with microintervals, overblowing, and non-standard articulations like flutter-tonguing compose the palette from which this sonic tapestry emerges.
The multiphonic manipulation serves a dual purpose. On one hand, they simulate polyphony, opening the gates to a rich auditory landscape. On the other, they function as a sonic kaleidoscope, mirroring the intricate layering of sound that engulfs us. The multiphonic trill, for instance, employs a four-pitch cell, threading pitches already existing within the texture. This interplay of tones, both essential and supplementary, foreshadows the gradual saturation of chromatic possibilities—an embodiment of sonic growth and evolution.
In this endeavor, I not only craft a musical narrative but also draw from the wellspring of visual artistry. The oboe "Sequenza" becomes a canvas where inspiration and technique converge, echoing the exploratory spirit of Hicks, Flavin, Fontana, and Castellani. The work becomes a testament to the harmonious resonance between diverse artistic domains.
"Tastes of Silt and Sulphur" for Alto Clarinet, Flugelhorn and Euphonium
"Tastes of Silt and Sulphur"
for Alto Clarinet, Flugelhorn and Euphonium
Bil Smith Composer
Published by LNM Editions
Link To Full Score PDF
Central of "Tastes of Silt and Sulphur" is a notational system dubbed a "framework shifting structural notation system." It was developed specifically for this score to afford performers a granular level of investigation into the music. This system is infinitely propositional, providing an architectural frame within which interpretation remains intriguingly unhoused.
Frame Shifting is not merely a theoretical concept but a call to action for musicians, composers, scholars, and educators to re-examine and expand the boundaries of how music is documented and notated. By embracing a wider array of artistic discourses and mediums, we can capture the richness and diversity of musical expression in ways that are both innovative and inclusive. In doing so, we pave the way for a more comprehensive and cross-cultural understanding of music that honors its multifaceted nature.
This approach to notation forms an elemental stratum in the accreted layers of what can only be described as hyper-tonal notational symbology. Through this method, the composition transcends traditional musical boundaries, offering a spectrum of tonal possibilities that challenge both the performers' technical abilities and interpretative prowess. The score becomes a living document, endlessly adaptable and open to the personal insights and creativity of those who engage with it.
In "Tastes of Silt and Sulphur," the use of such a complex and flexible notational system mirrors the thematic essence of the piece—the elemental, almost primordial, sensations evoked by its title. Just as silt and sulphur suggest layers of geological and chemical transformation, so too does the score invite performers and listeners to experience layers of musical transformation.
"Propaganda Fly" for B Flat Trumpet; The Jubal Project and Multimodality in Composition
"Propaganda Fly" for B Flat Trumpet
A Jubal Project Composition
Bil Smith Composer
Score: 32" X 12"
As I have written in the past, "The Jubal Project" is an ambitious endeavor that aims to revolutionize music notation by using the circle as a central symbol. By utilizing the circle as a universal symbol, I hope to create a notation system that can oscillate between indexical registrations, symbols of forces in flux, and sensory stimuli, providing a continuous, self-vibrating region of intensities that avoids any orientation towards a culmination point or external end.
One of the key features of this notational archetype is its ability to yield aftereffects that empower the composer and performer, allowing for multiple transformations and variants of sound creation.
The philosophy behind the Jubal project is the theme of multimodality. Multimodality is the coexistence of multiple semiotic modes within a given context. Semiotic modes refer to the different ways in which meaning is created and conveyed, such as language, images, sounds, gestures, and movement.
Multimodality is an everyday reality as we experience the world through multiple senses and modes of communication. The rise of digital technologies has led to an increase in multimodal products, such as hyperfiction, digital books, and music compositions that incorporate various modes of expression. The twenty-first century can be seen as a quintessentially multimodal era, making the implementation of multimodality in composition even more urgent and relevant. Although the practice of multimodality has been long-standing, the field of multimodality composition archetypes is still at an early stage of development.
Opening Pages of Score for New Composition - Inspired by Fortunato Depero and F.T. Marinetti's Metal Book
Score 30' X 30"
To Be Published on Aluminum and Bolted Binding
Inspired by Fortunato Depero and F.T. Marinetti's Metal Book
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