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 (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): '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 (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]