One evening, four songs
Four songs in a single evening? And a decent night's sleep? This research lark is proving useful!
The power of the single idea: How playing the comb is improving my composition
Even when a concept is simple, the music needn't be.
Procrastination = Fear
Risk-taking can be terrifying, but it can also lead to much greater rewards of artistic development than playing it safe... at least I hope it will!
Graphic scores, text scores, freedom and ownership
What elements make a piece 'belong' to a composer? How much does a performer's own personal musical language make a graphic score piece 'theirs' rather than 'mine'? A gentle toe in the water of the question of ownership via two recently completed pieces: the text score Parlour Game and the graphic composition Sepiascape with Grey.
Cut’n'paste job: Constructing a text from multiple sources
New term, new pieces! Starting work on research and text-construction for a new choral piece commissioned by the Trinity Laban Chamber Choir.
Reconciling research and commissioned work
Can the needs of a practice-based research project be balanced with those of a commissioned piece? I consider the question of how to create a place in my MFA project for my two major commissions this year.
I'm currently gathering my thoughts together, following my final MMus recital. In particular, I am starting to work through the structure of my MFA project which will be the guiding force behind my composition projects for the coming academic year. Focusing on the intersection of text and visual art, this is giving a lot of scope for research and composition...
Breadcrumbs: Handling dramatic time
The last week or so has seen some big changes to Breadcrumbs, the dramatic monologue for unaccompanied soprano I've been writing. In particular I've been considering how best to handle the issue of dramatic time that moves at a different pace from performance time, and I've gleaned useful ideas from performances at the Téte à Téte opera festival.
Sonorities, tiny details, process
Nearing the end of my Rothko string quartet, I've been working on compiling a palette of string sonorities to use across the piece, to both create contrast and draw connections across sections of the piece.
Breadcrumbs: Writing your own text
For my latest piece, a dramatic monologue for unaccompanied soprano, I've had a go at writing my own text. Read about how I started, and how the text is changing during the composition process.