Composition (2011): 'Test'

For a solo performer or a small ensemble

Do as little as possible, in order to make the total level of sound in the room as low as possible.

If the volume starts to increase, either due to your own actions, those of other performers, the actions of the audience, or any external influence, you have lost.

Having lost, express your frustration by making as much noise as possible, and attempt, in doing so, to once more wrest control of the sound in the room and bring down the volume of any other noise-makers.

[Please contact me in the event of any public performance of this piece]

Composition (2011): 'Seriesism'

For any ensemble (however at least seven performers are recommended, and a combination of strings and woodwind or similar sounding instruments is ideal)

There is a series of pitches: F / A / C' / E' / G' / B' / D'' / F#'' / A'' / C#''' / E''' / G#'''

* for groups of instruments in just intonation or capable of precise degrees of microtonal tuning adjustment, a pitch series based on the partials of the harmonic series may be substituted for a quite different effect.

There is also a series of durations: dotted minim / minim tied to dotted quaver / minim tied to quaver / mimim tied to semi quaver / minim / double dotted crotchet / dotted crotchet / crotchet tied to semi quaver / crotchet / dotted quaver / quaver / semi quaver

* for skilled players, a series of durations involving smaller and more complex note lengths - e.g. demi-semi-quavers and various kinds of tuplets - may be preferred

[It will be noticed that neither of these series are quite the same as those used by the mid-twentieth century serialists]

Pitches and durations should be distributed amongst the players as is felt to be appropriate.

Each player should consider four notes, whatever their length, to be their own 'bar' (so that each player conceives of a bar as of a different length to everyone else). Bars played and rested are then alternated following the pattern of the fibonacci sequence (starting with a 'bar' of rest), i.e. 1 bar rest, followed by 1 bar played, followed by 2 bars rest, followed by 3 bars played, followed by 5 bars rest, followed by 8 bars played, followed by 13 bars rest, etc.

As far as possible, each note should be played with a slow attack and a short (staccato) sustain.

If any one player finds him or herself the only sounding player for a period of 8 crotchet lengths, s/he should cease playing.

If any two players find themselves the only sounding players for a period of 16 crotchet lengths they should - on an agreed signal between them - simultaneously cease playing.

The piece ends when the whole group reaches a silence of at least four crotchet lengths.

[Please contact me in the event of any public performance of this piece]

Composition (2011): 'Duet'

For a solo performer

Find a sound that is already audible in the room - the hum of the PA, the swoop of a fan, the noise from the air conditioner, or traffic sounds coming through the window, etc. - and accompany it.

As you play try to imagine that this sound you are accompanying is being made by another person. Imagine what this person looks like, aspects of their personality and temperament, and try to make the audience aware of your mental picture of this person through your performance.

When you are satisfied that you have successfully conveyed your image of this imaginary partner, stop playing.

[Please contact me in the event of any public performance of this piece]

Composition (2011): 'Meta'

For two vari-speed turntables

Place two copies of the same composition by Steve Reich (any will do, though his earlier works will probably be best) onto the two different turntables. Adjust the speeds so that they are just fractionally different. Try and make them start, from the beginning, at exactly the same time.

[Please contact me in the event of any public performance of this piece]

Composition (2011): 'Apart'

For a large ensemble

The group should be spread as far apart as possible throughout the room - sitting or standing amongst the audience, occupying the nooks and the corners, facing away from each other. Do not listen. Play repeated arpeggios from any chord in the scale of C Major, as slowly and as quietly as possible without paying attention to the playing of any other person in the group.

Gradually, increase your speed and volume, until you are playing as fast as possible.

Play even faster.

Allow your accuracy to decrease, let wrong notes slip in and gradually take over your performance, and let the noise element come to dominate the tone element of your playing.

Only then, start to listen to to the others.

When you are satisfied with what you can hear, and your listening has overtaken your ability to concentrate on your playing, stop.

[Please contact me in the event of any public performance of this piece]