Tuesday, October 24, 2023

"The Impartial Observer" for Piccolo and Bass Flute

"The Impartial Observer" 

"The Impartial Observer"

for Piccolo and Bass Flute

Bil Smith Composer

Published by LNM Editions

Monday, October 23, 2023

New Tablature System for Solo Violin Work in Progress


New Tablature System for Solo Violin Work in Progress.  

A commission from Bechtel 

I have chosen to create a hybrid tablature combining elements of WET (words, events text) scores with semi-traditional notation, tactile stimuli and combustion (inspired by Alberto Burri's work).  My goal is to throw the entire nature of music notation and representation under the spotlight; to straddle the realms of visualization, sound, science and culture; exploring the ways they dovetail with each other while also investing the tension created between these disciplines.  


Sunday, October 22, 2023

"Interiority" for Solo Harp. Bil Smith Composer.



For Solo Harp

Bil Smith Composer

Published by LNM Editions

Link To Full (PDF) Score:

"Interiority" for Solo Harp is a compositional anthology of projects that defy traditional norms, trapped within theoretical contexts, obscured by fictitious parameters, and entangled in hypothetical physics. This score is not concerned with constructability or adhering to existing praxis; rather, it is a bold inquiry into the unique relationship between the harpist, notation, and composition.

At its core, "Interiority" serves as a manifesto of constructed unrealities, fabricated orthographies, and synthetic syntax. It challenges conventional norms and introduces new dimensions to the world of musical composition. The notational devices within the score become a parallel to the nature of the work itself, manifesting as a web of fabricated histories, projections, and rogue inquiries, both conceptual and physical. This amalgamation of artifice and authenticity becomes the heart of the notation and the composition itself, blurring the lines between reality and imagination.

The score of "Interiority" represents a self-referential proto-typology, an experiment that delves into the curation, articulation, and dissemination of the composition. It invites inquiry, interpretation, and thrives on divergence, pushing the boundaries of what we traditionally associate with musical notation. This departure from the norm serves as a canvas for the harpist to express their artistic individuality, transcending the conventional constraints of music notation.

The construction of new notational vocabularies within "Interiority" may initially bewilder the performer. It challenges our established notions of how music should be communicated, pushing the boundaries of conventional musical language. Yet, the intent is not to confound but rather to stimulate curiosity.

With an understanding of the reasoning behind the deconstructed and reconstructed lexicon, these new constructs cease to appear alien. They become a gateway with its distorted chronological identifiers serving as purposeful contradictions. These artificial chronicles become the foundation upon which the work is built, creating an intricate web of ambiguity.

In this score, the harpist is not just a performer but an explorer of synthetic territories, an architect of fictitious parameters, and a communicator of hypothetical physics.