Acoustic Chamber & Solo
close observation
For a group of six or more pitched instruments (2016)
Duration: variable (ca. 10')
The piece consists of repeated iterations of seven chords. With each iteration, performers are free to change various parameters (articulations, dynamics, duration, etc). The piece evolves as a quasi-repetetive sonic entity whose details, as well as its overall shape and sound can vary tremendously as performers continually explore various sonic possibilities and interactions with each other.
(audio coming soon)
Residues 1 for 4
For a group of four performers of any instruments or multiple instruments (2014)
Duration: variable (ca. 8')
Residues 1, for 4 is the first in a series or works exploring how we mark the passing of time mainly as a measure of change and the rate of that change. It also explores how our sense of time directly relates to our awareness of this change and where our attention is placed at any given moment.
(audio coming soon)
murmurations
For a group of at least 5 performers of any sustaining instrument (2012)
Duration: variable (ca. 10')
murmurations is a series of works that deal with self-organization and how complex forms and patterns can emerge from interactions based on very simple rules. Each piece in the series centers one or two specific ideas or sonic parameters (e.g.: pitch, noise, rhythm, a particular articulation, etc). The instructions set up a simple framework that allows performers to coordinate their actions using three simple rules of interaction based on the work of Craig Reynolds in swarm intelligence. These rules are modified so they’re more suitable for sonic exploration. They are meant to exert the minimum amount of control possible while still ensuring a certain level of cohesion and autonomy.
murmurations 1 focuses primarily on pitch. It’s for a group of at least 5 performers of any sustaining instrument. The performance consists primarily of medium-long to long sustained notes. A performer holds each note-event with minimal change until moving to a new one.
what becomes
For an odd number of musicians (5 or more) playing traditional or non-traditional, sustaining, pitched instrument capable of playing glissandi or at least bending pitches (2010)
Duration: variable (ca. 7')
what becomes is partially based on a simplified interpretation of the principles of cellular automata to spontaneously generate and evolve its form based on random initial conditions and using a few simple rules to guide the process. Performers are given a starting point, and each performer proceeds based on the behaviour of their neighbouring performers. The individual behaviour organically generates both the material and the form of the piece.
(audio coming soon)
Panic
For 4 or more performers playing non-pitched, non-sustaining percussive percussion instruments (2009)
Duration: variable (ca. 7')
Panic is for a group of 4 or more performers playing non-sustaining percussive instruments/objects (traditional or non-traditional, including found objects). The performers should stand or sit facing away from each other (e.g. in a circle or some other formation facing outwards), so that no performer can see another performer. The objective is to eliminate eye contact and minimize communication through any means other than sound. Duration is variable. Performers may choose any instrument(s) that can make non-pitched, non-sustaining percussive sounds, suitable for playing pulses and short, simple rhythmic figures or cells of no more than 6 or 7 attacks per second. The objective is to create cells that are unique and identifiable, not to demonstrate virtuosity. The piece consists of a series of repeated cycles alternating between performers morphing towards each other (togetherness: everyone playing the same rhythmic cell) and away from each other (individuality: each performer playing a unique rhythmic cell). The two, togetherness and individuality being points on a circle, one continuously leading to the other. The flow from one state to the other is not predetermined and will always be an emergent property of the dynamics of any given group of performers.
bound/s
For 3 or more performers playing sustaining instruments (2009)
Duration: variable (ca. 10')
bound/s is written for an ensemble of any three or more similar or different pitched instruments. Performers are given a basic formal and sonic framework in which to operate, and are asked to create their own individual scores based on specific guidelines. Each score is nothing more than a sequence of sound objects chosen from a given set of possibilities. Performers have the choice to make the scores as strict and detailed or as general as they see fit. While performers are restricted to their individual scores and do not interact, the limited nature of the sonic material gives the work a strong sense of cohesiveness, while at the same time allowing performers the freedom to navigate through their materials independently from one another.
Trayectoria
For a mixed ensemble of any size, with or without conductor (2007)
Duration: variable (ca. 10')
Trayectoria is one in a series of recent works in which I explore the role of the performer, here in the context of the ensemble. The score consists of objects constructed from various combinations of geometric shapes, colors and two patterns, each encoding one instruction. The objects are arranged in a large hexagon and connected via arrows that are used to navigate between them. Additional symbols are also used to allow each performer to determine their interaction with other performers. Each Performer navigates the hexagon on their own, determining the precise interpretation and duration of each object. The overall behavior of the ensemble is determined by each performer as they carefully listen to, and interact with other performers (or ignore them, depending on the specifications of each individual object and the spontaneous decisions of the performer).
(recordings of two different realizations)
Nuħas
For 7 horns, trumpet, trombone, bass trombone, tuba (2002)
Duration: ca. 12'
The title comes from the Arabic word for brass. The work as a whole deals with the interplay between homogeneity and non-homogeneity, as determined by various parameters that change and evolve throughout (e.g.: pitch, noise, register, etc). The work is in seven sections, grouped into two large parts (4 + 3). Both parts follow similar trajectories, each moving from homogeneous to non-homogeneous states, with the second part being more compact, and moving at a more accelerated rate.
(audio coming soon)
pAr
For oboe, English horn, trumpet, flugelhorn (2001)
Duration: ca. 4'
pAr, that which is equal. Although this work involves four performers, the four are always paired, and only one pair is playing at any given moment. The four instruments were chosen for their timbral qualities (similarities and subtle differences between the oboe and English horn on one hand, and the trumpet and flugelhorn on the other). The two pairs of instruments (oboe-trumpet and English horn-flugelhorn) alternate between sections of highly energetic, repetitive sounds and long sustained sounds that change very slowly and very minimally (often by microtones). Each section explores and exploits the rich timbral qualities of each pair of instruments and how these timbers fuse together and separate.
Thaloot
For piano, violin, cello (2000-01)
Duration: ca. 10'
(audio coming soon)
Jurungdu
For solo violin (1999)
Duration: ca. 5'
(audio coming soon)