Composition (2012): 'Classical Music'

Write a piece of music. Make it the greatest, most beautiful, transcendent piece of music you have ever written. 

Without playing or singing this piece of music to anyone else, record it onto some physical format (be that a paper score, magnetic tape, or whatever) such that your recording contains sufficient information to fully reproduce this piece of music to your satisfaction. Make no copies of this recording. Remove any traces left by the process of production. Alone, without witnesses, and without wrapping it in any kind of casing or covering for protection, bury beneath the ground the physical object on which this recording is held.

Never reveal to anyone else the nature of this piece of music that you have buried. Never perform it, never explain a word about it. But on regular occasions (say once a week, once a month) visit the site where you have buried it and leave flowers or pebbles or some other token. As you are leaving your offering - and only then - allow yourself to think about your piece of music. Run through it in your mind soundlessly. 

Leave instructions in your will such that after you have died and a sufficient amount of time has elapsed, your next of kin is to exhume your piece of music. They must not clean it or make any attempt to otherwise restore it; they have simply to play whatever it is they find.

Composition (2012): 'Popular Music'

For any instrumental ensemble (probably around ten people would be ideal) and one vocalist.

Procure a copy of the vocal score of any recent hit single, with the lyrics printed underneath the notes. With scissors, cut the score into its as many sections as there are individual bars, being sure to include the corresponding lyrics underneath each bar. 

Distribute the score fragments amongst the instrumentalists, giving each musician an equal number . 

A singer, actor, or vocal artist of some other sort should then intone the words of the song in order. Each musician should listen out for any words that appear on their fragments. 

Upon hearing a word that appears on one of your score fragments, play the notes on that fragment in free time (even if your fragment refers to a different occurrence of the same word, eg, if words like "and" or "you" appear in several places in the lyrics, any bar which features the word "and" should be played every time the vocalist utters the word "and").

The performance ends when the vocalist has reached the end of the lyrics.

Composition (2012): 'Repetitive Music'

For any ensemble of more than one singer or instrumentalist

Play (or sing) a note in the key of C major and, at a constant metre but a different tempo to all other performers, repeat.

Play (or sing) a different note in the key of C major and alternate between your new note and the last one at the same constant tempo. Repeat.

As before, adding a further note, repeat.

Keep going, adding more and more notes from the C major scale, until all performers are cycling through the entire scale of C major at different speeds. Then, at an agreed signal, stop.

Composition (2012): 'Urban Music'

For One or More Performers

Arrive at Bank underground station at half past six in the morning on a normal working day (you may be able to think of an appropriate equivalent in whichever major city you have chosen to perform). Head down to one of the platforms and, if possible, take a seat.

Wait. Listen.

At about eight o'clock, when the platform is full of people, start humming, choosing any note you can hear from amongst the general hubbub.

At half past nine, leave the same way you came in.

[For more instruction-based music click on the 'text scores' tab to your right. I would be grateful to hear of any public performance of this or any other of these works]

Composition (2012): 'Perfect Music'

Feed every number one single from the previous decade into an algorithmic software programme along the lines of David Cope's Experiments in Musical Intelligence and instruct it to begin producing endless streams of 'new' music.

Send the results to another piece of software of the sort, Hit Song Science by Polyphonic HMI. 

Return the results of this analyse back to the Experiments in Musical Intelligence-type software in an endless feedback loop.

No loudspeaker output or audience is required for this piece.

Composition (2012): 'Sweet Music'

For a single piano.

Coat all of the keys and all of the strings of a grand piano in honey.

Invite a grizzly bear (or other wild animal) to lick it off.

The performance is finished when the piano is clean or the bear is full.

[For more text scores please click the link 'text scores' on your right. Please contact me in the event of any performance of this or any other of these scores]

Composition (2012): 'Tele - Music'

For two performers, in two different cities, each with a laptop and mobile internet connection.

Keeping in constant contact via Skype (or similar), each performer should scour their respective city in search of a good busker. Once two suitable buskers have been found, introduce them to each other via Skype and encourage them to improvise together a brief duet.

As the two buskers continue to play, slowly start to move away, at roughly equal pace.

The performance ends when both buskers are no longer within range of the inbuilt microphones on your laptops.

[For more text scores please click the link 'text scores' on your right. Please contact me in the event of any performance of this or any other of these scores]

Play Wav Tennis!

Wav Tennis is the new game that everyone's talking about!

All you need is two musicians, separated by space, and each in possession of some sort of sound recording software and an internet connection. In fact, the two players scarcely even need to be musicians.

Here's how:

Player One sends a sound file to Player Two - it could be something of his/her own creation, using whatever tools are at his/her disposal, or it could be some manner of 'found' sound.

Player Two boots said sound file up onto their sound recording software and adds another sound file to it (either found or created). Player Two must then find a way of 'artistically' linking the two together, making the beginnings of the first 'work'. The two conjoined files are then volleyed back to Player One who continues in like manner.

Any given serve or return shot can be as long or as short, as simple or as complex as desired, but should extend the work, either temporally or texturally or both. Either Player may also use their turn to edit, effect, manipulate any other section of the work (providing they have also added their own new sound to the mix).

The first 'set' ends when both Players are satisfied that they have some manner of completed 'work' that they would be happy to play to strangers and call their own.

Unlike real tennis, Wav Tennis is a non-competitive soundsport, however if after a volley of some length neither Player feels like they have anything resembling a finished 'work' then they have both, clearly, lost.

Anybody fancy a game?

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]

Composition (2010) No. 6

For a solo performer (any instrument)

Attach as many microphones, pickups, phonographic cartridges, and contact mics to your instrument as possible. Feed these transducers in turn to as many different amplifiers and speaker systems as possible.

Using screwdrivers, chisels, chainsaws and whatever other tools you might need, disassemble your instrument, deconstruct it into as many different component parts as possible.

Perform a brief cadenza on each distinct part.

To the best of your ability, re-assemble and reconstruct your instrument.

Perform a brief cadenza on the reconstructed instrument.

Switch off the power.

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

Composition (2010) No. 5

For a trio of any three instruments

Imagine a labyrinth (the above will do, but any 2D or plan-view of a maze of sufficient complexity will suffice, providing it has a recognisable centre). It may help to place an image of the maze in front of you as you play, by way of a 'score'.

The first performer should imagine s/he must trace a continuous pencil-line through the maze from the entrance on the perimeter to the centre. The melodic 'line' that you play on your instrument should follow your imaginary pencil-line. If you must pause to think about where to turn, then you must pause. If you have gone the wrong way and must go back on yourself, then you must go back on yourself, retracing your steps the way you have come. But just as your pencil should not leave the page - neither should your fingers at any point leave your instrument.

Once the first performer has succeeded in going a sufficient distance into the labyrinth, the second performer should then give chase, following the line of the first performer into the maze. All the while, however, the second performer should be speeding up (accelerando) in order to try and 'catch' the first performer.

Once the first performer feels like the second performer has nearly caught up with them, they may 'jump', as it were, through one of the borders of the maze (it is up to the individual performer how this 'jump' is achieved through musical means, but the analogy must be sufficient for the audience, and especially the second performer, to recognise it). This leaves the second performer trapped in a loop, unable to go beyond the point at which the first performer 'jumped', unable to trace their path all the way to the exit, left to circle interminably. The first performer may then continue to the centre of the maze.

In the maze's centre, while the second performer continues to loop, the first performer now finds themselves forced to circle quite quickly around a small number (say, three or four) notes with fairly small intervals between them. For here, the first performer has encountered the 'minotaur' (our third performer).

Upon recognising the arrival of the first performer in the centre of the labyrinth, the third performer also begins to circle around the same number of notes - albeit with larger intervals between them and lasting for greater durations, as befits the minotaur's greater stature.

At an appropriate point, the first performer begins to 'flee', back through the labyrinth, and the third performer gives chase, following the line of the first performer, albeit slightly slower.

Finally, all three performers should meet at the point in the labyrinth where our second performer has been left in a loop. At which point they 'fight' - using repeated, stabbing single notes, of increasing force (crescendo) as 'weapons'. The 'fight' - and the composition - ends when all three players are dead.

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

Composition (2010) No. 4

For any ensemble (and a conductor)

The group must be assembled in a circle or semi-circle with the conductor in the middle.

Everybody plays from the same score (above) with transposing instruments using an appropriately transposed version (likewise instruments in higher of lower registers, with octaves adjusted accordingly).

Before commencing, a series of hand gestures should be agreed between the conductor and the musicians, in order that the conductor may signal to any player at any time to:

Begin playing passage 'One' (or 'Two', 'Three', 'Four', etc.);

Loop the bar s/he is currently playing;

Double the length of the phrase being looped;

Start improvising around the themes and phases included in the score;

Stop playing.

A further hand signal should be agreed which indicates all players should stop playing (and the group should agree beforehand whether this signal should bring about an abrupt stop or a more gentle easing out at the end of the current bar).

The piece begins when the conductor indicates a number from one to five to one of the players and counts in.

[Please contact me in the event of any performance of this piece - transposed versions of the score are available on request]

Composition (2010) No. 3

For any ensemble

Before the performance, a number of motifs taken from birdsong should be recorded and notated on manuscript paper, sufficient to assign one to each player.

All musicians should be sat in a circle, with each player having only their own birdsong motif notated on the score before them.

When you feel like it, play the motif in front of you.

Certain things should make you more inclined to play:

the sound of others playing;

any other sound in the room;

catching sight of someone you like;

a pang of hunger;

the sudden recollection of a fond memory, or a joke;

noticing someone else smiling;

an urge to go to the toilet;

feeling sunlight, or any other light, strike you, or suddenly noticing a shiny object somewhere in the room;

but you may always choose not to play.

When others play, even if you are yourself playing at that time, you must listen.

After the first performance of your own motif, you may start to incorporate material - be it pitches, rhythmic patterns or melodic shape - from any other motif you have heard since the beginning of the performance. Through this method, your own motif-string gradually extends and transforms. The longer, the more different from itself, your motif-string becomes, the more often you should want to play it and the faster it should become.

As the piece becomes more and more frantic, more and more crowded, any member of the group may give an agreed signal (which should be silent). At which point everyone should play one long note, choosing the highest note from their current (now presumably quite transformed) motif-string, lasting one long breath, after which the piece ends.

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

Composition (2010) No. 2

For any ensemble of roughly equal numbers of each sex

All players should sit in a circle and look around the room.

Upon catching the eyes of any other player, take a deep breath and release it, playing a single note for the time it takes to release your breath.

If the person who catches your eye is female, the note you play should be a major third higher than the last note you played. If the person who catches your eye is male, it should be a perfect fifth higher.

Feel free to change octave whenever you please.

At the beginning of the piece, your hypothetical 'previous note' is a low C. If the rules dictate that your next note should be C, stop playing.When everyone has stopped playing, the piece ends.

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

Composition (2010) No. 1

For any ensemble of strings (and / or trombones, crumhorns, etc.)

The players should all be sat in a circle, each should imagine before him the letters

C, D, E, F, G, A, B,

in other words, the scale of C major. These are the only notes you are allowed to play throughout the piece and, excluding the opening chord, you are only allowed to play each note once.

To begin with, starting notes are:

C,

G above that C,

E above that G,

D above that G,

F above that D,

B above that F, and

A above that B.

[using only the first few lines for smaller groups, and repeating notes in the same order for larger groups]

String players will never leave their starting string, so try and pick one that gives you the greatest chance of bumping into your neighbours.

All musicians play a sustained chord on their starting notes for 7 beats, after the 8th beat, all players begin sliding up or down their chosen string in contrary motion, ceasing your glissando and holding a note only if:

You cross notes with another player, then keep sliding to the next note in C which you have not yet played and hold that note;

If you realise that to continue sliding would make it impossible to land on a note from C which you have not yet played due to the approaching extremes of the string, then simply find the next usable note and hold it;

Or, If you hear any other players have stopped sliding.

Once all four players are holding any given note they should look at each other, count for 6 beats, and then repeat, sliding in the opposite direction, pausing for consecutively fewer beats on each held chord, until finally, having reached, as it were, zero beats, the last note of the scale is held for 8 beats and the piece comes to an end.

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