Fugue for Organ

Prelude for B Flat Clarinet

"Synaptic Coherence" for Violin

Tuning Mechanism for String Quartet (To be performed prior to concert appearance on stage)

Excerpts from New Work for Ensemble: Concentric Notation System

“Eseltelle Genève” for 2 Orchestras. Bil Smith Composer. Recording on Laboratorie New Music Label: Comment by Bansky

“Eseltelle Genève” for 2 Orchestras. 

Bil Smith Composer

                                          Commissioned by Boston Scientific and RyanAir.                                                                                                                                                                                                             RECORDING on SoundCloud: 

https://soundcloud.com/bil-smith/eseltelle-gene-ve-for-two-2

“Eseltelle Genève” for 2 Orchestras: setting for Orchestra II.  Bodø, Norway

At a lecture, overheated and exhausted I begin to explain how music is “formally evil.”   In music, a subject picks out another imperfect subject to raise above all else; everything in the universe is forfeit for the sake of the object of music (as in ‘love’).

In this work the reduced orchestral landscapes demand the large ensembles (Orchestras) to achieve a result that lies at the higher end of acoustical preoccupation. As I am a ‘soundcologist’ surrounded in an environment that is constantly accelerating in a perception of time, I advocate pausation…in the emptiness and silence we encounter ourselves …an absence of sound, and thought.

Bil Smith

The concept of "universal music’ (aka: 'Love) is banal” and the only proper attitude towards the world of sonic phonomorphisis is hatred or apathy.  In a previous essay, I suggested a kind of radical violence, which cuts universally, is necessary to break through the false sense of universal music, of vacuous tolerance that dominates current discourse.

The response to this tolerant and empty form of universal music should not be an ethical violence, but more music.  The sentimentality of a kind of ethical music takes the form of a superegoic demand of the fetishist universe of composers.   ‘Love every music!’

"Bil Smith's critics—and there are many of them—have accused the master of deliberate obscurantism and misinterpretation of his sources—if not outright leg-pulling."
- Banksy

Student Exercise II for Tenor Trombone

Also For Orchestra

For Orchestra

Whitespace Ideation: A New Notational Instrument - The New Eighth Note

The new eighth note

Composer Portfolio Part Two

Standard for Bass Trombone (2'46")

Standard for Bass Clarinet (3'14")

"Transcript of Cryptic Formulae and Insoluble Dreams". The Score For Piano.

Transcript of Cryptic Formulae and Insoluble Dreams

For Piano

Bil Smith Composer

2013-2015

"Jaegerkorpset" A Fanfare for Two Piccolo Trumpets

"Allodynia" for Thein Tenor Tuba Score

"His Sacral Entertainments". Score For Piano, Bass Clarinet and Bass Flute

"His Sacral Entertainments".  

Score For Piano, Bass Clarinet and Bass Flute

2016

Bil Smith

Commissioned by Kirin Holdings

Technical Exercise for Clarinet in B Flat

Site Reading Exercise for Violin

Short Etude for Tuba

Technical Studies for Viola

Breakthrough Music Tablature Experiments Continue with Circos.

"A Tactical Comparison of the Net and Cutlass"  Bil Smith Composer

"A Tactical Comparison of the Net and Cutlass" Bil Smith Composer. 2011 & 2014. 

Score Excerpt...for Bass Flute 'Implicatio' and Soprano Trombone 'Meta-Induction'

"Angelita Vorkink, Piliphiliac"  The Score:  Bil Smith Composer

Score Excerpt (Flute) from"Partitions: Cambics Alive in Sensient Amplules"  Bil Smith Composer

"Phenodynamic A-Life Thesis"

"Spectral Codes" for Cornet and Bass Flute

"Emblematic Suctusstupratio" for Orchestra" The Recording

"Emblematic Suctusstupratio" for Orchestra"  The Recording 

https://soundcloud.com/bil-smith/emblematic-suctusstupratio-for-orchestra-2011-2014-bil-smith-composer

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.