Sunday, July 31, 2022

New Work: The Dynamic Spatialist Score

Paolo Scheggi's "Intersuperficie curva bianca"

With inspiration from Paolo Scheggi and Enrico Castellani, I began this commission for solo cello with the intent of pushing the boundaries of traditional notation into new dimensions.

I wanted to embrace investigations into the relationship between the surface and depth of the visual field and how it shapes the Cellist’s musical lexicon. In the physical score, I am introducing three monochromatic surfaces each perforated with biomorphic or geometric openings and layered one on top of the other.  Each surface plane measures 32” X 16”. 

The templates that follow represent the layers with the red outline being the bottom layer, the blue  being the middle layer and the black being the top layer.  The three layers are bound together with epoxy and represent a set.

The wide border surrounding the grid of apertures acts as a visual pause, giving the work a notable balance between the dynamism of the openings and the stillness of the balance of the layer.

Executed in a monochromatic white, I seek to present a combination of balance, tension and materiality.

This is simply the initial foundation for the work.  There will be further elements I will introduce as the work progresses.

Top Layer Die Cut Template

Middle Layer Die Cut Template

Bottom Layer Die Cut Template


Advanced Contemporary Techniques For Clarinet by Dr. Adam Berkowitz. PDF Download

Advanced Contemporary Techniques For Clarinet by Dr. Adam Berkowitz

Link To File Here:

Wednesday, July 20, 2022

"Infinite Jester" for Tuba

Link to PDF File (Hi-Res)

In “Infinite Jester,” through an entirely intuitive process, I test the particular sequence and rhythms of various notational mediums harnessing the emerging visual forces within my prescribed framework.  You will observe that the notational representation neither congeals in clusters or breaks out in a tumultuous manner.  The result is a closely woven tablature that opens up a sense of depth; yet it is an unstable arena, where the more the performer looks through the composition, the more the visual rhythms shift before the eye.

The syncopated changes subvert what would otherwise be a rigid structural order, generating the sense of disturbed equilibrium that forms the essence of the work.

Thursday, July 14, 2022

""Exit Velocity"
 For Piano

"Exit Velocity"

For Piano

Bil Smith Composer

Link to PDF File Score:

A Commission from Harrison Hayes, LLC

Published by LNM Editions

Saturday, July 9, 2022

Circos: Disruptive New Tablatures from Laboratorie New Music

for Chamber Orchestra
"This Is The Past That Somebody In The Future Is Longing To Get Back To"
for Baritone, Baritone Horn and Alto Flute

Once again we revisit our experiments with utilizing Circos visualization mapping software which we, at Laboratorie new Music have modified to create a unique tool for generating a new musical lexicon.
"Daniele Summerveal"
for deModas Slide trumpet, Uniharp (September Florynce Tuning)
and French Horn

"Cut Rate Pulse"
for Stash Flute, Linq B flat Trumpet, Spizzichino 20" Chinese
Modent Splash Cymbal and Oboe

Saturday, July 2, 2022

"Ventruca" for Solo Oboe.


"Freight Riding Seduces Me Into Denying Whenever I Can". For Solo Tuba. World Premiere: Bill Pritchard

"Freight Riding Seduces Me Into Denying Whenever I Can"

For Solo Tuba 

World Premiere: Bill Pritchard

Bil Smith Composer

Published by LNM Editions

Partial notes to Bil Pritchard on performance of this work:

As far as the interpretation of the performance notes... I obviously have a vision...and yes, it is intended to be a bit provocative and well...interpret it as you choose. The inclusion of actual notation in the performance notes is meant to "set the table" for the composition. It's more of an directive device as to what's about to come. Not necessarily does it need a literal interpretation.

The actual piece begins on page 4. If you notice there is a certain typographical treatment used in this work which is fairly consistent. The tablature (notational system) is intended to steer your initial decisions to treat certain symbology with a specific musical treatment (rendering). The key is that once you commit to interpreting a specific symbology, you commit to interpreting a specific symbology, you attempt to maintain that treatment when it appears later in the work. Of course, there are variants throughout the work, but the original interpretation should reflect the spirit of your previous interpretation. 

Bill Pritchard